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PRACTICAL SPEAKING 



AS TAUGHT IN 



YALE COLLEGE. 



E. D. NORTH, M. D. 



" The art of speaking well, has, in most civilized countries, been a cherished mark 
of distinction between the elevated and the humble conditions of life." 

Dr. James Rush. 



V 
NEW HAVEN: N 

PUBLISHED BY T. H. PEASE. 



1846. 
Ji 






Entered according to Act of Congress, in the year 1S46, 

by E. D. North, 

in the Clerk's Office of the District Court of Connecticut. 



PRINTED BY B. L. HAMLEN, 

Printer to Yale College. 



CONTENTS 



w * 



Preface, 
Introduction, 
Plan of Instruction, 



Part I. 



GENERAL HABITS IN DELIVERY. 

Chap. 1. Attitude and Gesture, . 

Attitude,- 

Gesture, 

Chap. 2. Voice, ...... 

Dependence of Voice on Respiration, 

Voice or Tone of Address, 

Agreeable and Impressive Voice, 

Refinement and Suavity of Voice, 

Keys of the Speaking Voice, 
Chap. 3. Animated and Impressive Utterance, 

Animated Utterance, or Spirited Accent, 

Impressive Utterance, or Prolonged Tones, 
Chap. 4. Articulation and Pronunciation, . 

Articulation, 

Vowels, ...... 

Consonants, 

Articulation of Polysyllabic Words, . 

Pronunciation, 



Chap. 5. Continuous Discourse, 

Accent of Construction, or Grouping of Words, 
Distinct Separation of Syllables, 
Sustained Expression, 

Chap. 6. Emphatic Force, .... 
Continued Emphasis, 
Emphatic Force on Single Words, 
Contrasts of Force, .... 



Page. 

7 

17 

30 



34 

36 
39 
47 
51 
54 
58 
60 
64 

66 
67 
71 

74 
74 

77 
80 
84 
88 

93 
94 
100 
101 
103 
107 
115 
119 



CONTENTS 



Deep Earnestness of Tone, 

Consciousness of being Earnest and Interesting 

Tone of Communicating Thought, . 
Chap. 7. Rhythm and Cadence, .... 

Rhythm, 

Rhythm of Words, 

Rhythm of Emphatic Words, . 

Rhythm produced by Quantity, 

Familiar Rhythm, 

Cadence, 

Chap. 8. Circumstances, 

Adaptation of Delivery to Size of Audience, 

Adaptation to Echo of Rooms, . 

Adaptation to Restless Audiences, . 
Chap. 9. Self-Management, 

Self-Possession, 

Manner of Beginning an Address, 

Manner of Concluding an Address, . 
Appendix to Part I. The Diatonic Melody of Speech, 

Part II. 

EXPOSITION OF THOUGHT 

Chap. 1. Groups and Phrases, 
Principles of Grouping, 
Phrases of Utterance, 
Phrases of Subject and Predicate, 

" of Suspending Clauses, 

u of Circumstance, . 

w of Object of Active Verb, 

" of Apposition, 

u of Parallel Construction, 

Chap. 2. Inflexions, 

Falling Inflexions, 

Rising Inflexions, 

Contrast of Inflexions, 

Questions, 

Conditional Clauses, 

Circumflex Inflexions, 

Concluding Remarks on Inflexions, 



CONTENTS 



Chap. 3. Emphasis, 

Emphatic Grouping, . 
Grammatical Emphasis, 

Logical Emphasis, 

1. Pointed AiKrmation or Designation, 

2. Negation contrasted with Affirmation 

3. Condition and Consequence, 

4. Concession and Denial, 

5. Question and Answer, 
G. Antithetical Contrast, 

7. Referential Emphasis, 

8. Emphasis of Correspondence, 

9. Intensive Emphasis, . 
10. Emphasis of Remonstrance, 

Emphasis of Imagination, 
Emphasis of Emotion, 
Chap. 4. Transition between Paragraphs 
Part III. 

EXPRESSION. 

Chap. 1. Moods of Delivery, . 



The Direct Mood of Delivery, . 
The Meditative Mood, 
Chap. 2. Styles of Address, . 

1. Unimpassioned Affirmation, 

1. a. Explanatory Affirmation, 

2. Impassioned Affirmation, 

2. a. Impassioned Explanatory Affirmation, 

3. Contentious Affirmation, 

3. a. Explanatory Contentious Affirmation, 
Styles of Speaking characterized hy Sentiment 

1. Unimpassioned or Simple Sentiment, . 

1. a. Unimpassioned Pathetic Sentiment 

2. Impassioned Sentiment, 

2. a. Impassioned Pathetic Sentiment, . 

3. Hortatory Sentiment, .... 

3. a. Hortatory Pathetic Sentiment, 
Mixed Styles, ...... 

Style of Conviction, 

Appendix to Part 3. The Tremor of the Voice, 



6 CONTENTS. 

Part IV. 

LESSONS FOR EXTRACTS SELECTED BY THE STUDENT. 

Page. 

Established Customs, 400 

General Plan of Lessons, 402 

Rules of Practice, 402 

Sophomore Year, First Term, 404 

Sophomore Year, Second Term, 411 

Sophomore Year, Third Term, 414 

Junior Year, First Term, 417 

Junior Year, Second Term, 421 

Junior Year, Third Term, 426 

Preparation for Junior Exhibitions and Commencements, . . 430 

APPENDIX TO THE VOLUME. 

Taste, 436 

Extemporaneous Delivery, 437 

Reading, 433 

Poetry, 439 

Continued Self-Cultivation in Delivery, 439 



ERRATA. 

P. 144, line 2d from bottom, for adventurer, read adventurer. 
P. 161, line 2d from top, for extract, read extracts. 
P. 222, line 15 from bottom, for effects, read efforts. 



NOTATION OF THE EXAMPLES. 

It is believed that in general, this will explain itself. But the follow- 
ing references will be convenient. Each line constitutes a phrase of 
utterance: vide p. 209. Phrases are subdivided into groups of utterance i 
by a wider space between words : vide pp. 95 to 97. When a hyphen is 
inserted in the space between two groups, it indicates a compound group, 
and that the pause may be omitted in rapid delivery : vide p. 204. For 
the principles for placing the falling inflexion (\) vide p. 229. For those 
of placing the rising inflexion {/) vide pp. 234 and 236. For the use of \ 
circumflexes and waves, (\/) (/\) vide pp. 243 and 244. For the , 
use of italics, and of words with separated letters, vide pp. 143 and 310. 



PREFACE 



The following work, as will be perceived upon a 
( slight examination, is on a different plan from any which 
! has hitherto appeared on the subject of elocution. It is 
I the result of a laborious study begun in early youth and 
I continued for upwards of twenty years, of the physi- 
ology of the voice and the accompanying instincts of the 
body in gesture. The great work of Dr. James Rush, 
of Philadelphia, and the able treatise of Dr. Porter, of 
Andover, both of which appeared in 1827, were adopted 
| by the present author immediately on their first appear- 
| ance, and the truth of their doctrines subjected to the test 
of practical and independent investigation. The latter 
of these works was found to be an improvement upon 
those of Walker, Sheridan, and others ; but the former 
proved to be accurate and practically useful in proportion 
to the genius, industry and acuteness of its author. 
Probably a more difficult and subtle investigation was 
never entered into in any branch of the sciences of ob- 
servation, and the more it is submitted to the test of 
comparison with nature, the more surprising will its 
completeness and accuracy appear. Yet having been 
for some time laboriously employed as a teacher of read- 
ing and speaking before its appearance, and having con- 



8 PREFACE. 

tinued to be thus occupied for most of the time since, 
the present writer has uniformly found that such philo- 
sophical and strictly scientific modes of describing the 
functions-of the voice as those adopted by Dr. Rush, re- 
quire too much time and study to be very useful to 
those who wish merely to acquire practical skill in read- 
ing and speaking, and that for the purpose of teaching 
elocution, it is absolutely necessary to resort to a differ- 
ent method. 

The practical student needs to be informed of those 
uses only of the voice in which he is liable to err, and 
that these be described in such a way as corresponds 
with his feelings of embarrassment and difficulty, when 
in attempting to read or speak, he finds that his delivery 
is not such as he wishes it to be. Those who feel their 
own deficiencies in reading or speaking, have a concep- 
tion more or less perfect of what they ought to exhibit, 
but find on trial that their delivery is in fact strangely 
inferior to the ideal standard in their minds. In this 
state of disappointment, an elocutionist at his elbow, 
should be able at once to inform such a one — in the first 
place what tones he is using, and in what they differ from 
those of nature and cultivated power ; and in the next 
place to explain the reason why his voice proceeds differ- 
ently from what he wishes. This last is the most im- 
portant service required of the teacher of elocution. 
Such reasons will always be found to result from some 
unfortunate habit of body or mind, with which the 
teacher is familiar from study and experience. The 
explanation of all such habits belongs to the science of 
physiology, taken in its widest acceptation, as is done 






PREFACE. 9 

by Chalmers, in his Bridgewater treatise, and as it is fa- 
miliarly understood by medical men and naturalists. 
Elocution is properly a branch of physiology, and no 
more connected with Rhetoric, with which it is so com- 
monly associated, than with music, painting and sculp- 
ture, with which also it has considerable connection. 
Every complete work on physiology treats of voice, ges- 
ture, and of the alphabetic elements. 

It seems to be commonly supposed that the unfortu- 
nate habits above alluded to, which interfere with the free 
expression of thought and sentiment in reading and 
speaking, must necessarily result chiefly from mistakes, 
or neglect in early education. This is a serious error — 
they proceed rather from that weakness of mental and 
physical organization, which is shared in a greater or 
less degree by all. The faults of delivery which a 
teacher is called upon to correct, are not of very many 
kinds. They are exhibited with little variation by all 
who have not cultivated delivery by their own efforts, 
with no exceptions, except occasionally in the case of 
one whose organization peculiarly fits and predisposes 
him for public speaking. To enlarge his sphere of ob- 
servation, the author at one period welcomed every op- 
portunity of instructing persons cf both sexes and of all 
ages, from six to forty years and upwards, and for a con- 
siderable time gave individual instruction to about two 
hundred persons a day. He soon found however, that the 
various difficulties among so many were readily reduci- 
ble to a few general classes, and that time spent in point- 
ing out faults, was in general, lost. All have certain 
fundamental requisites of delivery to learn ; all must ac- 

2 



10 PREFACE. 

quire a voice of greater compass, depth and flexibility, 
than is developed in common conversation ; all must 
learn to regulate the breath, and keep the chest in that 
condition which enables the speaker to emit the succes- 
sive syllables of discourse with the steadiness and slow- 
ness required for large rooms; all must acquire the habit 
of concentrating the mind on the ideas delivered, to such 
a degree that no external and embarrassing influences 
shall prevent the natural impulses from which a good 
delivery results, from acting with intensity and power ; 
all must acquire that judgment of the ear by which a 
speaker distinguishes for himself the actual sound of his 
voice at a distance, and listens to it after it has issued 
from him, as if he himself were one of the auditors as 
well as the speaker ; all must acquire that discipline of 
the mind, by which the words of a written or a memo- 
rized discourse can be taken from the dead letter before 
they are uttered, and transferred to the mind in the 
shape of thoughts not yet completely clothed in lan- 
guage, so that when actually spoken, the utterance shall 
proceed from the same impulses as if he were extempo- 
rizing, and the ideas thus have their living embodiment 
of words with their inseparably associated tones; and 
finally, all must acquire those unfettered bodily habits, 
in consequence of which attitude and gesture become as 
varied and graceful as the impulses from which they 
spring. From infancy onwards, the commerce of or- 
dinary life teaches us to talk. We learn to read by ex- 
pressing aloud the words which silently meet the eye, 
but in reading merely for our own information, the mind 
is in the condition of apprehending, not of communica- 



PREFACE. 11 

ting thoughts. Hence the tone of reading is at first ab- 
stracted and inexpressive, and if it becomes otherwise, 
the natural expression is at first similar to that of solilo- 
quizing, or, still more precisely, it resembles that which 
one uses in repeating over to himself words which have 
just been addressed to him by another, in order to be 
certain that he has caught them correctly. We next 
attempt to utter them in living tones, to satisfy ourselves 
that we understand them. But the regular succession 
of written words and their natural rhythm, cause the 
voice to proceed more or less in a monotonously regular 
and a mechanically rhythmical manner. The mind 
likewise is in a musiiig state. From both these causes, 
reading is at first naturally characterized by what is 
called a tone. The tones with which children read are 
universal, and are equally exhibited by uneducated men. 
Among the Asiatic nations, indeed, where the people act 
less from the impulses of the understanding and more 
from those of the imagination and feelings, all reading 
is in the style which we call chanting, and in their lan- 
guages the same word signifies both to read and to sing. 
Up to this point, we have nothing which can be called 
delivery. This term implies the act of addressing ideas to 
others. When children in school have once acquired the 
ability to pronounce written words at sight, all instruction 
in propriety of reading consists in teaching them to make 
an effort to give the tones by which we communicate writ- 
ten ideas to others. This act requires in general, the 
modulations of the voice used in conversation. But as 
the mind is in an entirely different state from that of con- 
versation, it is by a long and slow process that the child 



12 PREFACE. 

learns to perform the double mental act, first to make 
the ideas his own, and then to express them to others. 
Neither is it necessary for ordinary purposes that these 
two things be done in perfection. Enough of the latter 
is merely required to give a reasonable degree of life and 
interest to the reading. 

Speaking however, requires a higher excitement and 
a stronger effort of mind and body. A word of a single 
syllable may be uttered in three tones : first in that of 
talking, next in that, partly of apprehending the mean- 
ing, partly of soliloquizing, and partly of talking, which 
characterizes reading, and lastly in those tones of enforc- 
ing or explaining ideas which we use in that higher ef- 
fort to attract the attention of others, which characterizes 
speaking. There is indeed still another modification 
which distinguishes what is called recitation, as when a 
performer recites a poem before an audience, and which 
implies an intentional display of art and skill — but of 
recitation we do not propose to treat in the present 
volume. 

In regard to speaking, it is a curious and important 
fact, that the power in the vocal organs of expressing 
words in the tone which naturally belongs to it, is not 
developed by the common intercourse of society. A 
considerable proportion of those men whose public de- 
livery is confined to compositions prepared beforehand 
never use this tone — and when they apply for instruc- 
tion to teachers of elocution, are found to be incapable 
of employing it at pleasure. They have never made 
use of it, except that occasionally when strongly excited, 
they have done so instinctively, but have not been after- 



PREFACE. 



13 



wards aware that their vocal organs have been engaged 
in an unwonted action which they cannot repeat at will. 
In fact the peculiar open state of the fauces, the more 
tense contraction of the vocal muscles, and the more sud- 
den and complete emission of the breath which produce 
the tone of speaking, are natural indeed, but natural only 
in that sort of excitement of mind which leads a person 
to speak rather than to talk, and which is not needed 
in ordinary life. It will be found on investigation that 
every one who can at pleasure employ the tones of a 
speaker, has learned to do so at some period subsequent 
to that of early childhood. Some indeed of the employ- 
ments of life, such as those of auctioneers, debaters and 
lawyers, are certain to develope the habit of using the 
speaking voice, yet those whose regular duties call 
only for the delivery of compositions previously prepared, 
are not in circumstances that necessarily elicit this 
peculiar action of the vocal organs. Boys and young 
men never exhibit it except after considerable practice ; 
when once however it is established, from that time 
they find no difficulty in speaking whenever they wish 
to do so. They may indeed afterwards improve in de- 
livery, but as soon as they practically understand how 
to command the voice that distinguishes speaking from* 
talking or from reading, they feel a consciousness of 
having acquired a new faculty, and are ever after confident 
of their ability to use it. It is indeed a kind of muscular 
action, which like that of swimming or of skating, is 
perhaps attained after a long continuance of repeated ef- 
forts, but when in fact mastered, is often gained sud- 
denly and at once. Like these acts likewise, that of 

2* 



14 PREFACE. 

speaking when once learned, is never forgotten or lost 
from want of practice. All the three may also be learned 
either slowly, or suddenly and by an instantaneous and 
felicitous effort. The author continually witnesses in- 
stances of the latter kind as well as the former. He has 
been in the habit of telling those who after a long con- 
tinued repetition of failures, suddenly break into the 
speaking tone, that from that time forwards, they will 
be able to speak. 

These facts upon which we have been dwelling so 
long, lie at the foundation of all philosophical and prac- 
tical elocution. Though they have been too much 
overlooked by men of learning, yet the unlearned part 
of the community have always felt that the very act of 
speaking is a distinct and peculiar one. A sensible and 
respectable man will say to a teacher, " In town meet- 
ings I can talk but I cannot speak, and I wish my child 
to be taught at school to speak, so that he may take a 
higher stand than his father." The most ignorant class 
of enthusiasts in religion indeed esteem the distinction 
so fundamental, that they attach an obscure idea of in- 
spiration to a suddenly acquired faculty of making reli- 
gious harangues. President Dwight remarks of this 
jclass of religious instructors, that they are generally supe- 
rior to their hearers in nothing but volubility.* They 
might also be described as differing from their hearers in 
the power of using the speaking voice at pleasure. 

It is the object of the present volume to assist in ac- 
quiring the art of public speaking. The whole course 

* Dwight's Travels. 



PREFACE. 15 

of instruction has for its fundamental idea that the ac- 
quisition of this art results in the case of all but a very 
small number of men, from some course of mental or 
bodily training. This may be acquired after entering 
upon life, as is so often done by lawyers and debaters, 
through practice before audiences ; but it is generally 
considered desirable, that those who are gaining a liberal 
education should be enabled to step forth from the seclu- 
sion of a seminary of learning, adorned and equipped 
with this addition to their other accomplishments. 

This volume is prepared with an express adaptation to 
the wants of the institution in which its author is em- 
ployed, and is confined strictly to the topics which he is 
constantly called on to discuss in the course of his in- 
structions, and in answer to the numerous enquiries of 
intelligent young men. The lengthened introduction 
which follows is addressed exclusively to the students of 
the institution, and is rendered necessary by there being 
new classes to teach in each successive year. 

As " The Philosophy of the Human Yoice," by Dr. 
Rush, is a large volume, and found difficult of compre- 
hension by many, the writer would particularly recom- 
mend to those who wish to become acquainted with that 
gentleman's discoveries, a neat and elegant treatise by 
Prof. Henry N. Day, of Western Reserve College, which 
is an independent work on the same general plan. 

New Haven, Dec. 31, 1845. 



PRACTICAL SPEAKING 



INTRODUCTION. 

It is the object of the following work, to exhibit the course 
of instruction in elocution, which is at present pursued in Yale 
College. Since the writer has had the responsibilities of his 
present situation, the number of undergraduates in the institu- 
tion has been on an average about four hundred. The three 
younger classes receive systematic instruction in speaking 
throughout the whole of the college year, and any member of 
the Senior class is accommodated, without charge, with private 
instruction as often as he wishes. The number to be taught is 
consequently so great, as to oblige the instructor to resort to 
short and hurried lessons. It is a necessary rule that each les- 
son be confined to a single subject, and also that no subject be 
introduced which is not proved by experience to be absolutely 
essential in its importance. The problem has all along been, to 
find out what difficulties most embarrass young men who are 
preparing to speak in public, and what kind of instruction in 
reference to these difficulties will be most willingly received. 

In consequence of the failure of the writer's physical strength, 
this volume has been prepared during the present college term, 
in the midst of his labors as an instructor, and has for its object 
merely to impart the information which he has hitherto given, 
in the informal lecturing and conversation which take place in 
teaching. Not a page having been previously written, and 
most of it having been composed in a state of severe suffering, 
it exhibits many deficiencies, yet will enable him to perform 



18 INTRODUCTION. 

his duties with less labor, and, he hopes, with more success. 
His only alternative is either to resign his situation or attempt 
to continue by the assistance of a work like the present. 

No subject has been omitted which the instructor in this in- 
stitution is called on to teach. Persevering efforts have in for- 
mer years been made, to present somewhat of the philosophy 
of English phonology and orthoepy; the structure and rhythm 
of English meters ; the rhythm of ancient versification which 
results from the systematic employment of quantity, considered 
as distinct from accent ; the distinctions between public read- 
ing in various styles, and public speaking ; the difference be- 
tween public and parlor reading ; and finally, the adaptation of 
reading, especially in poetry, to the peculiar styles of thought, 
sentiment and language which characterize our most original 
writers — so managing elocution as to assist the mind in en- 
deavoring to sympathize with the peculiar genius of each. 
None of these subjects, however, have any necessary connexion 
with the main object of enabling each student to do justice in 
future life to his talents and education when speaking his own 
written or extemporaneous ideas. For some time likewise, an 
effort was made to assist the younger students in acquiring a 
fondness for the beauties of English literature. For this pur- 
pose, use was made of the means which are the province 
strictly of elocution. The peculiar comment afforded by the 
voice of a practised reader, and his interjection al remarks, 
are sometimes valuable in awakening an interest in the beauties 
of literature, and thus preparing the way for the more quiet, 
but also more studied and learned commentary of the profes- 
sional critic. The instructor in the present branch, however, 
has been conscientiously careful never to appear to lend coun- 
tenance to the opinion, that such accomplishments as he is 
employed to teach, can be advantageously pursued while any of 
the severer studies are neglected. All these efforts to teach 
any thing more than public speaking, have failed, and have 



INTRODUCTION. 19 

been successively abandoned. Serious difficulties have attend- 
ed etlbrts to introduce any of the subjects above mentioned, and 
the attempt will not again be made unless by direction of the 
governing faculty. 

The topics discussed in the present volume, have all met 
with the cordial approbation and sympathy of the students, and 
notwithstanding the failure of success in respect to the others, 
the instructor has had the satisfaction of knowing, that though 
occupying a situation of no official rank or authority, and yet 
one in which from the very nature of the subject taught, the 
modest and diffident must be brought forward and protected, 
and those whose example or conduct obstructs their own and 
others' improvement must be checked, and if necessary sternly 
rebuked, he has never to his knowledge made a personal ene- 
my or caused the governing faculty any trouble. It has been 
by the manifestations of kind respect on the part of the stu- 
dents, that he has been encouraged in carrying into action the 
principle that " faithful are the wounds of a friend." Young 
men feel that among those whose example does not entice them 
to immorality, they can have no worse enemy than he who de- 
frauds them of that part which it is his duty to afford them, of 
the highest of earthly blessings, education. 

The instructor is careful to have it understood that speaking 
is not to be learned by making him a model, and makes it an 
important rule to endeavor to accommodate himself to the 
natural tendencies in delivery of the student — aiming so to 
manage his corrections that they shall be received thankfully, 
and assist instead of hinder him in his natural efforts to be ex- 
pressive and interesting. As a result of this mode of proceed- 
ing, no difficulties ever arise from differences of taste. It is 
not indeed the province of a mere teacher to dictate upon such 
points, but rather to assist the student towards a satisfactory ex- 
ecution in the style which he prefers, or which is recommended 
and enjoined by those placed in authority over him. The pres- 



20 INTRODUCTION. 

ent instructor at first met with difficulty in persuading some 
that he taught, to make a hearty effort to be spirited and inter- 
esting, in consequence of their supposing that his personal taste 
was in favor of a disagreeable degree of loudness; but the fact 
is now well understood in this institution, that loud speaking is 
at first easier than that which is more subdued, and that the on- 
ly infallible mode of practice by which a liability to disagreea- 
ble loudness can be prevented, is for each one to discipline his 
own voice until he knows its tendencies and capabilities, and 
never falls into loudness by mistake. He prefers, more than 
most persons, a subdued and mellow voice, and finds loud- 
ness the most difficult of all faults to correct. It can be suc- 
cessfully done only by means of gymnastic vocal exercises, 
similar to those employed in the ablest schools of music, by 
which the tone of the voice is made deep, mellow and clear. 

Throughout the whole course, the distinction is carefully kept 
in view between what can be taught in delivery, and what must 
be original with the speaker. In a loose way, we may call 
this distinction that between elocution and eloquence. The 
latter must be original, and will vary according to talents, tem- 
perament and character. A teacher of elocution must con- 
scientiously bear in mind that if the evil is not guarded against, 
those who are receiving instruction from him will be apt to trust 
too exclusively to rules, and thus become less individual and 
consequently less interesting and effective in their several styles 
of eloquence. 

Those who from peculiar organization have a decidedly nat- 
ural turn of mind for public speaking, seem not to be more in 
number than two or three in a hundred. Such actually need 
little or no instruction, and although, when young, they are of- 
ten the most fond of receiving it, little more is necessary for 
the teacher than to encourage them to trust boldly to their nat- 
ural impulses. Experience, however, proves that there is no 
serious difficulty for the rest, in learning to address a public 



INTRODUCTION. 21 

assembly in a dignified, agreeable, and interesting manner. 
These also, if their minds are matured and disciplined by a lib- 
eral education, may readily make themselves prompt, fluent and 
methodical, as extemporaneous speakers. Yet it is not to be 
expected that all will become eloquent. Those who attain to 
this height, will reach it only by careful and persevering self- 
cultivation of the imagination and character. An instructor 
can do no more than encourage and sometimes assist. Tasks 
cannot be imposed in eloquence, although elocution must be 
learned by means of them. 

It is the object, then, of the present treatise, to exhibit a set 
of lessons which are to be practised as tasks, and which shall 
make but little requisition on the knowledge or judgment of in- 
experienced pupils. It is indispensable that these be neither 
difficult nor extremely disagreeable to the student — that they 
be such that he can proceed in them with confidence and pleas- 
ure, and with a consciousness of their utility. If well contri- 
ved, their practice will ultimately secure good habits, in all the 
requisites for being an acceptable and effective speaker. De- 
livery will be audible, distinct, fluent, graceful, earnest, impres- 
sive, and in consequence of the union of these qualities, will be 
forcible and interesting. 

The only efficient modes of giving instruction in elocution, 
are similar in most respects to the methods pursued in the great 
schools of vocal music. Such methods are generally adopted 
in our colleges and higher schools. Not only elocutionists, but 
professors of rhetoric employ them for pupils of every age. 
Explanation is always accompanied by vocal illustration, and 
by associated practice time is saved sufficiently to enable all the 
learners to discipline their own organs thoroughly, instead of 
waiting in tedious impatience for each one to take his turn. 
Attempts at private instruction without the assistance of the 
discipline of an institution, are generally attended with very 
unsatisfactory success. It is seldom except by such help, that 

3 



22 INTRODUCTION. 

a satisfactory grounding can be given in the elements of any 
art or science. And in no branch of study is a stringent dis- 
cipline more required than in this. 

Time likewise is an important element among the requisites 
for success. Superior ability in delivery can only result from 
a gradual development of capabilities and the formation of hab- 
its. Young men who are preparing to be public speakers, 
sometimes express a wish that they could have it in their pow- 
er for a while to devote themselves exclusively or principally to 
this study, and thus finish it as a distinct branch of education. 
Such wishes imply a serious mistake. To be ultimately suc- 
cessful, the study of delivery must proceed pari passu with that 
development of mind which results from the whole course of 
education. Mr. Russell, who is so extensively known as an 
able teacher of elocution, has well explained, that, delivery pro- 
ceeds from the whole character. The speaking of a school- 
boy must necessarily be boyish, and that of a college student, 
in the early part of his course, will of course be inferior to 
what he will be capable of exhibiting after his mind has been 
strengthened by long application to severe studies. Habits al- 
so cannot be formed at once, while rules, lessons and practice 
are of little use except as they form habits of voice and gesture. 
In penmanship, " a good hand" is formed by rules and lessons, 
but graceful writing is executed without elaborate pains, and is 
the result of habits previously established. To establish hab- 
its, the lessons from which they are to proceed must not be in 
too quick succession. Six lessons given in as many successive 
hours, will have but little effect compared with what will result 
if they are given in successive days or weeks. Slowness in 
this respect is especially true in regard to the mind, and all hab- 
its of delivery may be ultimately referred to the mind and char- 
acter. A further illustration of these truths may be derived 
from the practice of composition in our highest seminaries. 
The maturity of style displayed in the magazines conducted by 



INTRODUCTION. 23 

their members, is certainly considerable, and yet it is the result, 
so far as practice is concerned, not of very frequent trials in 
composition, but of attempts made at considerable intervals 
throughout the whole course of education. 

For further explanation of the principles of the present work, 
reference may be made to part fourth of Whately's Rhetoric, a 
treatise which was composed when its author was at the head 
of one of the colleges of Cambridge University. Not only 
is the false mode of teaching elocution described by him, one 
in which teachers are liable to proceed, but the injurious habits 
described are still more often acquired by those who attempt 
to improve their own delivery, by means of a set of rules, or by 
imitating a favorite model. 

As teachers of elocution often meet with those who are 
strongly prejudiced against any cultivation of an improved de- 
livery, and who feel a disgust at the very thought of attracting 
popular applause as speakers, it may not be useless, and will 
certainly promote a good understanding between instructor and 
pupil, to give the subject of the true usefulness of elocution a 
candid consideration. 

It is a popular notion, loosely entertained indeed, but often 
expressed, that a good delivery is the most important of all ac- 
complishments for promoting the success in life of a man whose 
profession requires him to be a speaker. This appeal to worldly 
interest often excites aversion in the minds of young men, while 
the more acute among them perceive the falsity of the assertion. 
So far as mere success in life is concerned, impartial observa- 
tion will prove that though a good delivery is often advanta- 
geous, it not only is not imperatively called for by society, but 
bad styles of speaking will often secure applause and patronage. 
Even dullness of delivery is not without its uses. Weakness 
of thought and incorrectness of style are often concealed from 
observation by obscurity of enunciation. A sort of dignified 
mumbling is not unfrequently resorted to by men ambitious of 



24 INTRODUCTION. 

influence. So much easier is it to speak with force and fluency, 
than to shew ability in writing ; so often is an animated delivery 
the result merely of confidence and presumption, and so fre- 
quently are successful arts of delivery used for selfish ends only, 
that there exists in society a readiness to suspect a good speaker 
of being insincere or shallow. Men are justly satisfied with 
learning, talent and elevation of character, although their pos- 
sessors may express valuable matter in a dull and tedious man- 
ner. A superior delivery is not even necessary in all cases for 
eloquence. Webster has stated a philosophical truth in saying 
that " eloquence must exist in the man, in the subject and in 
the occasion." Had he been expressly treating the point, he 
would probably have added, that of the three, " the occasion" 
is the most influential. Indeed the appropriate occasions for 
high eloquence are rare. Accomplished oratory, of which de- 
livery is a part, attracts admiration and may thus be injurious 
to influence and usefulness. It is a critical remark of F. 
Schlegel, that Bishop Bossuet, the most splendid of French ora- 
tors, was too eloquent for a clergyman. There is no evidence 
that the Apostle Paul was admired as an orator in Greece or 
Rome. Had he been, his polished hearers might have excused 
themselves from regarding him in any other light than merely 
as an interesting speaker. In the most profoundly skillful piece 
of oratory, perhaps in any language, Shakespeare makes Antony 
say, " I am no orator, as Brutus is." 

Still it is commonly acknowledged that there is to a greater 
or less extent an obligation resting upon all who are pursuing a 
course of liberal education, to acquire the accomplishment of a 
good delivery, if circumstances put in their power to obtain it. 
In the first place a man feels deficient without it, and experien- 
ces a natural impulse in favor of its cultivation, just as he does 
with respect to other branches of knowledge. Self-cultivation 
is a universal law of reason and conscience. On the same 
ground, society also expects evidences of this accomplishment 
from men of education. 



INTRODUCTION. 25 

In the next place we owe it to our fellow men to endeavor to 
make ourselves useful and agreeable. A good delivery is the 
most powerful of all instruments for the purpose of communi- 
cating our ideas — at least to the ignorant and illiterate. For 
this purpose it is far more valuable than mere literary correct- 
ness or beauty of style. For uneducated minds, and the great 
majority of miscellaneous audiences are of this description, 
nothing will compensate for the want of clearness and force of 
delivery, if the speaker is really desirous of instructing or even 
of enabling them perfectly to comprehend him. Delivery should 
be especially cultivated by all who are called upon to teach. It 
is often said that this accomplishment is most valuable to lawyers, 
but this class of speakers have less need of cultivating it than 
any other, because from the situation in which they speak, they 
can scarcely avoid becoming, after a few trials, both fluent and 
forcible. Some degree of coarseness in delivery is often favor- 
able in its influence on juries, and a lawyer can never be so 
absurd as to expect to influence a judge by means of elocution. 
No situation is so easy for a man to speak in, as that of main- 
taining one side only of a question before a judge or jury. 
Lawyers do not succeed as well as clergymen when addressing 
large audiences, and the debates on party questions in conven- 
tions of clergymen are at least as eloquent as those in political 
assemblies. 

A man is bound also to be reasonably agreeable, as well as 
useful. So great is the just reverence for intellect and learning, 
that when listening to speakers whom they respect for their tal- 
ents and attainments, audiences do not complain of faults in 
delivery, which would be considered proof of want of good man- 
ners in private intercourse. This however, is not a very good 
excuse for such faults on the part of speakers themselves. 
Avoidance of disagreeable attitudes and gestures, and a mani- 
fest pains to be at least distinct and audible, are required by 
common respect and courtesy, as much in a public meeting as 

3* 



26 INTRODUCTION- 

in a private company. It is only such considerations as these, 
in favor of the cultivation of elocution, that are of any real effi- 
ciency towards inducing young men to apply themselves to its 
study. Arguments founded in vulgar selfishness, disgust many 
and cause them to despise the accomplishment ; while on the 
other hand, the same inducements rarely succeed in persuading 
to useful application even those who apparently consent to them. 

There is another recommendation to the study and practice 
of delivery, which being a legitimate motive, it may be well to 
mention. It is the pleasure which attends upon successful 
efforts to free ourselves from feeling restrained and hampered in 
the exercise of our natural faculties. Mind and body both be- 
come unfettered, and the speaker enjoys his freedom and con- 
sciousness of power. 

But in reference to a College education, the strongest reason 
for practising elocution is found in the fact, that for the last two 
or three generations, there has been no other available counter- 
active of certain injurious effects of college life. To say noth- 
ing of vulgar tastes and coarse manners, the established course 
of education for some time past has kept a young man occu- 
pied from the years of childhood up to the period when he con- 
cludes his professional studies, in such a way as directly and 
powerfully to induce indolent and awkward habits of character. 
Unmanly diffidence, absence of mind in common intercourse, 
social cowardice, and bodily awkwardness and laziness, have 
been felt extremely difficult to avoid, by serious and intellectual 
young men, whose time has been spent principally at semina- 
ries of learning. There have been no counteracting influences 
from the practice of any accomplishment except that of compo- 
sition, and this does not answer the purpose, as it is cultivated 
in solitude. Extemporaneous debate has indeed been of some 
little use, but the embarrassment which generally accompanies 
its first practice, fully counteracts its benefits in respect to the 
things now under consideration. At some former periods, the 



INTRODUCTION. 17 

case was different. Among the Greeks and Romans, the " in- 
genui pueri" (young gentlemen,) during the whole course of 
their literary education, practised gymnastic and warlike exer- 
cises, which tended to keep the manly energies of the charac- 
ter in equal development with intellectual discipline and refine- 
ment. During the ages of chivalry, similar exercises were 
practised by all but the monks. Even down to the middle of 
the last century, some accomplishments continued to be culti- 
vated which answered the same purpose to a considerable de- 
gree. In Lord Chatham's letters to his son, the celebrated Wil- 
liam Pitt, the latter is earnestly exhorted not to neglect his dan- 
cing. Fencing and horsemanship were at that period univer- 
sally cultivated by young men who expected to fill stations of 
rank. Washington was distinguished as an elegant dancer and 
an admirable horseman. Among the Greeks, and among the 
English in the days of Elizabeth, instrumental music was care- 
fully cultivated by the class corresponding to that which at the 
present day claims a superior right to the appellation of gentle- 
men. But in our present systems of education, nothing of this 
kind finds place. Systematic gymnastic exercises have been 
thoroughly tried, and universally abandoned, as failing to an- 
swer their intended purpose. A military education, indeed, 
such as that at West Point, has its appropriate remedies for the 
evils of the other systems ; yet though the attempt has been 
faithfully made to imitate in colleges this part of a military ed- 
ucation, it has not succeeded. Numerous efforts have been 
made to incorporate systems of manual labor, but the results of 
such trials have been so unsatisfactory, that they seem not likely 
to be repeated. To imitate the Greeks in making instrumen- 
tal music a serious part of a liberal education, would at the pres- 
ent day be manifestly absurd ; to resort seriously to dancing for 
this great object, would be ridiculous. The cultivation of pu- 
gilism, so earnestly pursued in England, is too brutish for this 
country. The common athletic sports of young men are in- 



28 INTRODUCTION. 

valuable for purposes of exercise, but cannot take rank as ac- 
complishments. Carriages, rail-cars and steamboats are super- 
seding the necessity of horsemanship. Nothing seems to re- 
main as a remedy for this great deficiency but the manly culti- 
vation of practical oratory, and perhaps this accomplishment 
will ultimately be found of more value for the purpose than any 
thing else. 

To make it thus available, however, it must not be cultiva- 
ted, as has so often been done, in a mere spirit of emulating 
theatrical performers. Even the highest and most natural elo- 
cution for the stage, is not only totally different from, but dia- 
metrically opposite to that of public speaking. The most seri- 
ous mistake that can be made with reference to oratory, is to 
suppose that even an absolutely perfect actor, if such could be 
found, might be made a model for an orator. The situation of 
an actor is in all respects different from that of a public speak- 
er. In proof of this assertion, it will be sufficient simply to re- 
fer to the totally different style of delivery adopted "^y an ac- 
complished and favorite performer, when at the close of the 
evening he advances to the front of the stage, and speaks 
not as an actor, but in his own person to thank the audience 
for their favoring regards. No progress began to be made in 
improving the elocution of our colleges, until after the banish- 
ment of serious theatrical performances. Common college col- 
loquies do not strictly belong to the class of theatrical perform- 
ances. They may, perhaps, be best described by the appella- 
tion of intellectual frolics, and as such have a legitimate place 
and value. 

It is obvious, however, that to derive these advantages from 
the practice of elocution, as well as to make any useful attain- 
ments in the art, the student must yield — to use a fine expres- 
sion of Burke — " a liberal obedience" to the most thorough dis- 
cipline. Military discipline soon succeeds in transforming the 
most clownish and degraded individuals, even the very outcasts 



INTRODUCTION. 29 

of society, who enlist as common soldiers, into men distinguish- 
ed for an erect, manly carriage and a dignified demeanor, and 
infuses into them, not only feelings of honor, but of enthusias- 
tic self-devotion to the cause of their country. The very object 
of a liberal education is to qualify men for filling the most re- 
sponsible situations in society. Responsible situations are al- 
ways those of dignity, and as such demand elevation of char- 
acter ; but it is an established axiom, that no man is capable of 
commanding who has not first learned to obey. Such self-con- 
trol as leads to promptitude of effort, punctuality, and a regular 
distribution of time, is a primary object of all systems of edu- 
cation. The writer has accordingly been gratified in his labors, 
by finding that the more thorough the discipline he proposed, 
the greater was the satisfaction of the students. They have 
shown their approval of the principle, that to require of them 
their highest manly energies, and to accept of nothing lower, 
is not only to be most faithful to them as an instructor, but to 
treat them with the truest respect. 



30 



PLAN OF INSTRUCTION. 



The essential principles of the mode of instruction developed 
in this work are the following : 

First. At no time to require of the learner, that which it is 
not reasonably natural and easy for him to do. 

Secondly. Faults that experience has shown to be liable to 
occur in speaking, are as far as possible to be anticipated and 
prevented. But when faults actually occur, the learner is not 
to be expected to improve by simply endeavoring to avoid them, 
but on the contrary is to have set before him some method of 
practice which cultivates a mode of delivery exactly the opposite 
of the faults. It is likewise intended that such modes of speak- 
ing shall each exemplify one of the various natural styles of de- 
livery. Some natural style of speaking can always be found, 
the practice of which will cure the faults that are liable to at- 
tend attempts to speak in other styles. 

Faults may indeed be corrected by simply endeavoring to 
avoid them ; but this process is apt to produce at best but a nega- 
tive merit. The effect is even worse. It chills and checks the 
development of positive excellence, and thus becomes a serious 
hindrance to bringing forth the natural capabilities for eloquence 
in the speaker. 

Thirdly. In all instruction and practice, to keep in mind 
the distinction between a mere exhibition of adherence to rules 
of elocution, and a genuine and living eloquence. The one is 
to be so managed as to assist rather than obstruct the other.* 

* Vide Whately's Rhetoric, part fourth. 



PLAN OF INSTRUCTION. 31 

Not to attempt to do more by rules than they are capable of 
effecting. To depend on the student's own energy and enthu- 
siasm for that degree of success that does full justice to his 
powers. In delivery, as in composition, the most interesting 
things will be original and not derived from a teacher. 

The question will naturally arise in the mind of the student, 
how great a proficiency in speaking he may be able to attain, 
by attending faithfully to the tasks proposed in the following 
course of instruction. The answer will be found in the schemes 
of the lessons for the several terms of the Sophomore and Junior 
years. Those lessons have been satisfactorily tried with differ- 
ent classes, and require nothing more than experience has 
shown to be within the power of the great majority of each suc- 
cessive Sophomore and Junior class. The body of the work is 
to be studied and practised by the Freshman class, and provides 
for every difficulty that is met, in attempting the courses of 
lessons. 

Another question likewise requires an answer. How much 
time should be taken from other studies, in order to acquire the 
art of speaking? It is the sincere opinion of the writer, that no 
diminution need be made in the amount of time devoted to any 
other branch of a College course of study. Any such abstrac- 
tion of time may even retard improvement in elocution. As an 
instructor, the writer has uniformly found the best scholars and 
the hardest students in the severer branches, to have the most 
time at their command for receiving private instruction, and 
that too in lessons not required as a part of the regular course. 
The plan of giving half lessons to the Freshman class, on the 
days when they attend to elocution, has been faithfully tried by 
the Tutors, and found productive of as much injury as benefit. 
Private practice without the company of an instructor, is in- 
deed absolutely necessary, but it need not on an average, occupy 
more than a few minutes each day — and as this is one of the 
most healthful and agreeable of bodily exercises, it may be re- 



32 PLAN OF INSTRUCTION. 

sorted to as a substitute for the dumb bells during ordinary short 
intervals of relaxation from study. Those however, who wish to 
acquire a powerful voice, smoothly pleasant in its tone, can only 
succeed by occasionally resorting for exercise to a walk and 
declaiming in the open air. In this kind of practice it will be 
useful to spend from a quarter of an hour, to two or three hours 
at a time. 

Finally, for the sake of lightening the instructor's labor it 
will be well to state, that the plan of the following course is dia- 
metrically opposite to that alluded to in the well known lines of 
Pope, — 

" True grace in writing comes from art, not chance, 
As those move easiest, who have learned to dance." 

In this maxim it is assumed that natural ease and grace of car- 
riage, are best cultivated by practising the artificial movements of 
dancing. Whether such doctrines be true or false we shall not 
attempt to discuss — nor consider to what extent and in what 
mode this principle may be applied in education. It will be 
sufficient to mention, that in the following course not a precept 
or lesson is founded on any such doctrine. On the contrary, it 
will be an invariable rule, to require nothing that shall not be 
natural, practical, and, to a sensible person, agreeable. 



PART I. 

GENERAL HABITS IN DELIVERY. 

The chapters in this part of the work, contain that informa- 
tion which the author, in his daily labors, finds necessary to give 
at one time or another, to nearly every one whom he instructs. 
Having entered upon an independent investigation of the ac- 
tual conditions of the mind, and of the nervous and muscular 
systems of the body, in all the varieties of delivery, he has 
been in the habit of treasuring in his memory, and making use 
in instruction, of every fact which he has observed. Incessant 
employment of these facts has kept them fresh in his mind, and 
enabled him to state them in conversation with pupils, with suf- 
ficient precision to enable them to appreciate their value. 
Whether he shall succeed in making them equally clear in print, 
is doubtful. When giving instruction, however, his habit is to 
state them briefly, and then immediately to exemplify them by 
speaking a few words himself. The student is directed never 
directly to imitate his instructor, but to notice the sort of exer- 
tion that he makes in order to attain such a quality in delivery 
as is under consideration. The student then makes the same 
sort of exertion himself. In this way his delivery remains as 
original and natural as if he had received no instruction. This 
is a great point to gain. Though the writer has no natural 
turn for mimicry, and has never cultivated the elocution requi- 
red for the theatre, yet he finds no difficulty in imitating a pu- 
pil in a sufficient degree to exemplify a fault, without causing 
him any mortification. Such imitations are not of the nature 
of mimicry. They are effected by means of intense sympathy 



34 GENERAL HABITS IN DELIVERY. 

with the person imitated, and by putting one's self into the 
same state of mind and feeling. It should never be forgotten, 
that every good or bad quality of delivery results in its ultimate 
cause, from some habitual or accidental state of mind. Often, 
however, the immediate cause is some unfortunate bodily habit, 
which prevents the inward impulses of the mind from produ- 
cing a natural outward expression through the medium of voice 
and gesture. On this account it would be not inappropriate to 
call this first part of the present work, the physical part of elo- 
cution. 

The requisites of delivery treated in this part of the volume, 
should be habitual. When the habits are once formed, the stu- 
dent should give himself no further concern about them, but in 
all his subsequent progress, yield himself fearlessly to the ap- 
propriate impulses of his subject, and of the time, place and oc- 
casion. In fact when they are established, the student is from 
that time during the rest of his life, a speaker. They are nev- 
er lost, even when not called into use by the practice of speak- 
ing. Indeed, most persons will even improve in them, simply 
in consequence of that continued development of mind which 
results from the influences of society. 



CHAPTER I. 

ATTITUDE AND GESTURE. 

The purposes of this work require that attitude and gesture 
be treated of very briefly. A teacher can insure good habits 
in these respects, in but one of two ways. First, he may de- 
vote a very large amount of time to the subject, and not only 
patiently watch and correct every fault that he observes, but al- 
so drill those whom he instructs in a long series of exercises 



ATTITUDE AND GESTURE. 35 

for the purpose. Secondly, he may explain and illustrate the 
general principles of both, and then leave good habits to be 
formed by the influence of the natural impulses which prompt 
the various attitudes and gestures, at times when the mind is in 
a felicitous state of excitement from the delivery of eloquent 
composition. 

The latter is the mode adopted in this institution. The learn- 
er is advised never to practice speaking without at the same time 
standing in an easy and yet spirited and manly attitude, and 
likewise indulging his natural propensity to make those gestures 
which assist the voice in being earnest and expressive. 

Instead of being, as some suppose, the most difficult, these 
are the easiest parts of delivery. The directions which will 
presently be given, are all that are found necessary for young 
men who have passed the period of school instruction, and who 
feel a natural interest in appearing manly and graceful. 

If a few unimportant faults in attitude or gesture accompany 
the first efforts in speaking, while at the same time the speaker 
is in general correct in these respects, they commonly proceed 
from the want of that perfect self-possession and ease, which 
continued practice will be sufficient to secure. In this case if 
the speaker's voice is constantly growing more natural and ex- 
pressive, his attitudes and gestures will generally be found to 
improve with equal rapidity, so that it will be unnecessary for 
the teacher to make any corrections. 

When a speaker is satisfied that he has undesirable faults of 
awkwardness or formality of gesture, it is better for him to drill 
himself privately in correcting them, than to ask an instructor 
to do it for him. He can thus not only escape from the awk- 
wardness of being drilled in such things by another, but will be 
able to improve more rapidly. When entirely alone, he can 
with ease and pleasure watch his internal feelings of spirit, en- 
thusiasm and grace, in respect to these things. Such feelings 
are not only the true cause of excellence in attitude and ges- 
ture, but likewise are our only true guide and authority for them. 



36 GENERAL HABITS IN DELIVERY. 

It will neither be necessary nor useful to practice before a 
mirror. The cultivation of feelings of grace, freedom and un- 
restrained earnestness, such as are easily indulged when prac- 
tising entirely alone, may be made use of to far better purpose. 

One fundamental principle, however, must never be 
neglected, that attitude and gesture are inseparably con- 
nected with respiration and the expression of the voice. 
Those who study them separately, will be liable to be- 
come theatrically awkward. 

ATTITUDE. 

As the varieties of attitude spring from the feelings that ac- 
company the words that are spoken, and if no bad habits in- 
tervene, are always correct when the speaker's voice is suffi- 
ciently natural and expressive, it will be unnecessary to study 
them systematically. All that weeds to be done is to correct or 
prevent any important faults in the general habit of standing. 

When the speaker is first commencing, let the attitude 
express a composed and collected state of mind, and a 
natural ease. The only effectual mode of securing this, 
is by taking care to have a feeling of ease, steadiness 
and composure. 

The feet must be so near each other, that the body 
shall not lean to the one side or the other. 

The weight of the body must rest on one leg, with a 
slight settling at the hip. 

The knee of the limb on which the body is not rest- 
ing, must be suffered to relax and bend. 

The breast is to be thrown forward, and the shoulders 
drawn backward. 

The head should be held erect and easy. 



Attitude. 37 

An exact position of the feet should be avoided. In the at- 
titudes of ease and composure, the heels will be two or three 
inches, and the toes six or eight inches, apart. The figures of 
attitude in the " Chironomia," a large quarto volume on this 
subject by Austin, a teacher of elocution, about fifty years since, 
in Dublin, give various positions of the feet according to diffi- 
cult and artificial rules. These have been extensively copied 
in books on elocution. Yet on inspection, we shall find the at- 
titudes which they produce as unnatural as they are ungraceful. 
The figures lean as if they were falling to one side or the other. 
The only good authorities on this subject, are the works of the 
great masters in painting and sculpture. 

In earnest address, the body should generally lean for- 
ward, for a time, on the right foot, while the left falls a 
little behind. The very attitude thus expresses earnest- 
ness and bespeaks sympathy. 

The worst fault in attitude is observable in those who exhibit 
u weak and bombastic delivery. Such lean backwards, instead 
of inflecting the body earnestly towards their audience. They 
likewise throw back the head. One who in earnest address, 
leans forward towards his audience, will not be liable to serious 
faults of attitude. 

Common propriety of manners requires that when a speaker 
is about to make a formal address, (except in the ordinary ser- 
vices of the pulpit,) he salute the audience, or the chairman of 
the meeting, with such a bow as is customary in society. The 
rules for this are the same as on ordinary occasions in private 
life. If propriety requires that the chairman receive a saluta- 
tion of reverence and ceremonious respect, let the bow be low. 
But in other cases, it need be but slight. All the direction ne- 
cessary to prevent awkwardness in bowing, is that the whole 
body be flexible, and the shoulders be not kept back. If the 
Bhoulders are suffered to relax, the arms will fall forward, ac* 

4* 



38 GENERAL HABITS IN DELIVERY. 

cording to the common rule. A bow should always be made 
with a deliberate ease. Suddenness of bending, gives an as- 
pect of timidity, and is apt to be accompanied with a quick re- 
bound of the body, which has a bad effect. If a bow is very 
low, the eyes are cast down ; but if slight, they are steadily fixed 
on the person or persons saluted. In bowing moderately to a 
large audience, the eyes look steadily towards the more distant 
part of the assembly. When the person who salutes by a bow, 
is so situated that his feet are visible, it is necessary to let the 
heel of one foot meet the hollow of the other, at the time that 
the body bends. This is done in two ways — most formally, by 
drawing the heel of one foot into the hollow of the other — less 
formally, .by stepping slightly forwards with one foot, and then 
suffering the hollow of the other to fall against the heel of the 
foot in advance. The reason why in bowing according to these 
common rules, the heel of one foot comes into the hollow of the 
other, is that with this position the base upon which the weight 
of the body rests is made so small, that the bending is natural 
and almost unavoidable. There are, however, a few slight va- 
riations from this position of the feet, which graceful persons 
often exhibit; and when such proceed from ease and compo- 
sure, they produce no ill effect. Ceremonious and submissive 
bows are also sometimes made by retreating instead of advancing. 

EXAMPLES FOR PRACTICE OF ATTITUDE AND SALUTATION. 

Mr. President ! Mr. Chairman ! 

Gentlemen of the Jury ! Gentlemen ! 

Romans, countrymen and lovers! My countrymen ! 

My brave associates ! partners of my toil, my feelings 
and my fame ! 

Friends, Romans, Countrymen ! lend me your ears. 

Most potent, grave and reverend Seniors ! My very 
noble and approved good masters ! 



GESTURE. o'J 

Sad, my fellow citizens ! are the recollections and fore- 
bodings, which the present solemnities force upon the 
mind ! 

In the above examples the common rule of punctuation has 
been followed, which marks the nominative independent, of ad- 
dress, by an exclamation point. When the tone of address is 
grave and formal, and with a decided pause following, the fall- 
ing inflexion of the voice is required at the end ; but when the 
address is more familiar, or if it is with considerable excite- 
ment, the rising inflexion is more commonly used. 

GESTURE. 

The most common as well as most important of all the ges- 
tures that are used, is that of appeal and enforcement. This 
should be carefully studied and practiced. When the habit is 
once formed of using it with grace, spirit and variety, no awk- 
wardness will be exhibited in the infinite variety of others that 
spring from imagination and feeling. 

It is necessary to consider this gesture with care. The plate 
prefixed to this volume is intended to illustrate the attitude, and 
the position of the arm and hand, of one who by his very aspect 
bespeaks the attention of an audience, and is prepared to ex- 
plain and enforce with spirit and grace what he is about to 
utter. The erect yet easy attitude expresses composure, and a 
mind collected and concentrated on the subject and audience. 
The open and presented palm of the hand appeals to the minds 
of those addressed, while the arm raised and brought forward 
without relaxing the elbow, expresses freedom of impulse and 
a confident appeal to sympathy. 

The fundamental principle of every gesture is signifi- 
cance. This may be either of some wish or effort con- 
nected with the understanding, or of some state of im- 
agination or feeling. 



40 GENERAL HABITS IN DELIVERY. 

The gestures that spring from the latter source, are cultiva- 
ted by abandoning one's self freely to every such impulse. 
Those of feeling are a part of the natural language of emotion 
or passion, and all rules for them are worse than useless. The 
gestures of imagination either point to some image present to 
the mind of the speaker, and thus direct and assist the imagina- 
tions of the audience, or they slightly depict the visual outlines 
of such images, and in this way render the auditors still greater 
assistance. These likewise, are as various as the images to 
which they direct attention, and the attempt to reduce them to 
rule is evidently absurd. 

The gestures that assist a speaker in explaining and enforcing 
thought, can be reduced to a few general classes. Yet when 
thus classified they will be found very numerous, and their ex- 
planation intricate and tedious. But even if this be done, and a 
student be patiently and perseveringly drilled in them, there 
will be great danger of his becoming artificial and formal, and 
of exhibiting what is one of the most disagreeable of all faults, 
an appearance of having been long occupied in imitating a 
model, or endeavoring to put in practice a set of rules. 

All that is finally necessary after awkward habits, if any such 
exist, have become corrected, is to make gestures significant; 
first, of our wish to communicate and explain our ideas ; second- 
ly, of an effort to appeal to the assent and sympathy of those we 
address; and thirdly, of an intention to enforce occasionally the 
truth or importance of what we assert. 

But five rules are necessary for establishing good habits in 
the common gesture of appeal and enforcement. (Vide the 
plate.) 

1. Let the open palm always be presented to the part 
of the audience addressed. 

To effect this, bend back the wrist as much as possi- 
ble without a violent strain. 

Open and bend back the thumb and forefinger. 



(iESTURE. 41 

Let the other ringers remain slightly bent in a natural 
and easy manner. 

With some persons, these naturally remain nearly straight 
and almost in the same plane with the forefinger. With others 
they are more or less bent. No precise rule is needed in re- 
spect to this point. 

2. Raise the arm directly from the shoulder, without 
bending the elbow. 

The height to which the arm is raised, must correspond to 
the distance of the persons to whom the voice is addressed and 
to whom the eyes are directed. If they are towards the ex- 
tremity of a large room, the hand must not be lower than the 
shoulder or upper part of the breast. When we are speaking 
to persons very near, it is somewhat lower, but in this case the 
body also bends more or less forward. 

3. Bring the arm well forward towards the persons 
addressed. 

Do not suffer it to extend laterally from the body. This 
makes the gesture unmeaning, by taking away its expression of 
appeal. It should be brought at least forty five degrees forward. 

4. Let all the muscles of the arm be in a state of ten- 
sion, corresponding to a spirited and animated state of 
mind. 

Graceful, to say nothing of forcible gestures, cannot possibly 
be executed, when the muscles are slack. If these are not stiff- 
ened and kept tense, the elbow will drop and the motions be ex- 
tremely awkward. Even in an easy and animated attitude, the 
principal muscles of the body are in the same state. The atti- 
tude will otherwise express not ease but laziness. 

The true guide for the state and position of the arm, is to 
have in it a feeling of spirit and expression corresponding to 
that given by the voice. This causes the motions of the arm 
and wrist to be slow, graceful, significant, and expressive. 



42 GENERAL HABITS IN DELIVERY. 

5. Let the stroke of gesture which falls on an em- 
phatic word, be effected in most cases by a sudden stiff- 
ening of the muscles of the whole arm without bending 
the elbow. 

The elbow will indeed be very slightly bent, but an effort 
should be made to have the arm move exclusively from the 
shoulder, rather than to bend at the elbow. This direction 
prevents what is described by Hamlet, in the precept, "do 
not saw the air too much with the hands." What is called by 
audiences too much gesture, consists in indulging the arm in ; 
motions that are at the same time frequent and extensive. 
Those who gesture most gracefully, keep one or both arms ex- 
tended a great part of the time, but make but few motions that : 
attract attention. In fact the finest style of giving attitudes and 
gestures, consists in a series of positions of the body, arms and 
hands, which remain unchanged for an appreciable period of 
time, while each presents a fine study for a painter or sculptor. 

There is an exception to the last rule, when there is 
a peculiarly deliberate emphasis on a single word. In 
this case the elbow is deliberately bent, the hand is 
raised, (sometimes higher than the head,) and then 
brought down in the stroke as low as the waist. 

When the arm falls to the side after gesturing, let it 
drop naturally and unconsciously. 

Those who are first beginning to practice speaking, generally 
make too many gestures. It is useless to attempt to prevent 
this fault by speaking several lines at a time with both arms 
hanging at the sides as if withered. This custom is not only 
unnatural as respects gesture, being one which is never exhib- 
ited for a moment by an interesting extemporaneous speaker, 
but makes it impossible for the speaker to employ varied and 
impressive tones of voice. The fault under consideration pro- 
ceeds always from want of self-command and steadiness, and 



GESTURE. 



43 



can be prevented only by avoiding its cause. When however, 
too many gestures are made, the speaker generally drops his 
arm too often. He raises it for a single stroke on an emphatic 
word and then immediately lets it fall. It is this frequent ris- 
ing and falling of the arm that attracts and offends the eye. 

It should be a rule, therefore, that when the arm is 
once raised, it be kept for some short time in the air, 
and with the hand in the position of appeal. 

So likewise in a succession of gestures, the arm should not 
drop when one has been given, and then be raised again for the 
next. After making a stroke, the arm should remain in the 
position of appeal, or in that in which it was left by the last 
gesture, and then be transferred to the next. 

In speaking passages not distinguished by force of 
language or sentiment, the arm is often for a short time 
at the side. But in this case those who are graceful and 
interesting, always give such inflexions of the body 
as continue the exhibitions of appeal and sympathy, 
which the arm and hand express in more earnest pas- 
sages. 

So when the arm and hand are employed, the body assists 
also in the gesture by its flexibility. It should never be stiffly 
braced, so as to cause the whole expression of a gesture to pro- 
ceed from the motion of the arm. 

The question is often asked, What shall be done with the left 
arm? When the right arm is expressively engaged, and the 
body is kept flexible and suffered to assist, the left naturally 
hangs passive at the side. It should not, except sometimes in 
the most familiar and conversational debate, be suffered to rest 
on the hips, with the elbow akimbo, nor, except in the same cir- 
cumstances, be placed in the bosom. In earnest or grave de- 
livery it naturally hangs passive. Any other position makes 
the atttitude of the body stiff and inflexible, and prevents the 



44 GENERAL HABITS IN DELIVERY. 

grace of varied bodily inflexions. On no occasion should it be 
placed behind the back. To rest it thus, renders the attitude 
awkward by stiffening the back in the worst manner. To raise 
the skirts of the coat with the left arm, will be in the case of a 
young man, not to treat the audience, with respect, as it is the 
sole purpose of that part of the dress, to cover a dishonorable 
part of the body! If in familiar and conversational speaking 
the left hand be rested on the hip, let care be taken that the 
elbow be carried back as much as possible, in order to diminish 
the akimbo effect. 

Should single gestures be made with the left arm and hand ? 
It is not worth while to dispute this point, yet to use the left 
hand in gesture seems scarcely more natural than to offer it in 
salutation, or to strike a blow with it. The ancient Romans 
rarely or never employed it on any occasion, in speaking. 
They did not even use gestures with both hands. Yet the rea- 
son commonly assigned for this total omission of its use is not 
sufficient, for it could by no means be necessary for them to 
keep it always occupied in supporting a part of their dress. 
They must have had it in their power so to support the toga 
that it should not fall, as well in this as in other situations. 
When wearing the toga, they were not necessarily one-handed. 

Gestures that are made with both arms are the same in kind 
as those made with the right alone. When they are not in- 
stinctively employed to express extent of space or the univer- 
sality of an idea, they are generally used to assist in expressing 
a climax of thought. After repeating several strokes of gesture 
in enforcing a series of emphatic ideas, both arms are raised 
towards the close to produce a climax of effect. The stroke is 
made by both arms simultaneously, in the same way as by the 
right alone. 

Variety in the repetition of the common gesture of 
appeal and enforcement, is effected by successively 
changing the place of the hand in the air. 






GESTURE. 45 

To acquire the most graceful habits of gesture, the arm must 
be practised in making a greater part of its motions in a side- 
way direction, instead of directly up and down. In doing this, 
especial attention must be paid to cultivating flexibility of side- 
way motion in the wrist. The hand should be turned over so 
as to bring the palm uppermost, and while it is well bent back, 
and the thumb and forefinger fully opened, the wrist should be 
fully practised in significant and expressive motions made later- 
ally. The gesticulations thus made by the hand moving at the 
wrist, are the same that we continually give in earnest conver- 
sation. The only difference in their employment when we are 
speaking, is that we execute them while the arm is extended ; 
whereas in conversation the elbows remain at the sides, and the 
hands are just in front of the body. Cultivating these expressive 
motions in speaking, adds much to grace and interest of action. 

In passages of argument and explanation, some speakers em- 
ploy a style of gesture in which the arm is most of the time ex- 
tended, but the elbows are near the sides, and frequent and va- 
ried gesticulations are made by one or both hands in front of 
the body. This is an excellent and agreeable style of action, 
but is difficult to teach, and seems not to be natural to all. 
Those who instinctively incline to employ it, will do well to 
cultivate its habitual use. 

EXAMPLES FOR PRACTISING GESTURE. 

The following example requires a forcible delivery, and great 
earnestness of action. 

T \ 

I MAKE THE ASSERTION (arm gradually rising)— DELIBERATELY. 

(stroke without bending the elbow — then letting the arm re- 
main in the position the stroke left it in.) 
\ 
I REPEAT IT, (raising the arm, bending the elbow, and bringing 
down a forcible stroke on the last syllable of repeat — letting 
the arm remain where it was left by the stroke.) 
5 



46 GENERAL HABITS IN DELIVERY. 

/ 

AND I CALL UPON ANY MAN WHO HEARS ME (sideway wave of 
the whole arm, and with a flexible wrist — the hand being 
turned palm uppermost.) 

\ 

TO TAKE DOWN MY WORDS, (arm brought forwards— stroke of ges- 
ture brought down low — inflexion of the body, and an earnest 
look — the arm then drops suddenly and unconsciously.) 

The next example requires also great earnestness of voice 
and action. 

Sir ! (look and erect attitude) THE DECLARATION (earnest look, 

but no gesture.) 
WILL INSPIRE THE PEOPLE (arm raised from the shoulder— palm of 

the hand making a strong appeal.) 

\ 
WITH INCREASED COURAGE ; (inflexion of body, and ear- 
nest stroke of the arm, made without much bending of the el- 
bow — arm remaining in the air.) 

INSTEAD OF A LONG AND BLOODY WAR, (inflexion of body, and 
sideway motion of the hand and arm — a significant motion be- 
ing made with the wrist — the arm not dropped.) 
/ 

FOR RESTORATION OF PRIVILEGES, (the arm brought forward, 
and a forcible stroke made in a sideway and upward direction 
— the wrist being very flexible.) 

/ 
FOR REDRESS OF GRIEVANCES, (the same gesture repeated— 

but the hand carried a little higher, for variety, and to give a 

gradual climax.) 
FOR CHARTERED IMMUNITIES (hand brought forward towards the 

audience, to attract attention to the emphasis that is to follow.) 

/ 
HELD UNDER A BRITISH KING, (earnest look — stroke without 

bending the elbow — the arm carried sideways and upwards — 

the hand remaining high in the air.) 
SET BEFORE THEM THE GLORIOUS OBJECT (hand brought down a 

little, and stretched forward in earnest appeal.) 






voice. 47 

OF ENTIRE INDEPENDENCE, (hand slowly raised on tlio 
word entire — the elbow bending — then a sudden stroke on the 
accented syllable of independence — the arm remaining in the 
air.) 

AND IT WILL BREATHE INTO THEM ANEW (attitude brought up 
very erect — the breast swelling out — both arms and hands pre- 
sented in earnest appeal.) 

\ 
THE BREATH OF LIFE, (sudden stroke of both arms sideways 
and downwards on the word life — the elbows not bending — 
look of exultation — the arms then drop unconsciously — the 
speaker pauses — rests a moment, and begins with a transition 
of manner on the next passage.) 

Remarks on the above examples. — These examples are given 
as specimens of full and unrestrained earnestness of natural 
gesture. It will be well carefully to study and practice them. 
Those who have once mastered the gestures described above, 
will need no more training in this subject, and will afterwards 
be liable to no serious faults of action. 

It must be remembered, that on the same passage no two 
perfectly natural speakers will ever gesture precisely alike — 
neither will a single speaker speak the same passage with pre- 
cisely the same action in different repetitions, if his manner is 
in each case perfectly natural and graceful. It is necessary for 
instructors however, to discipline themselves in the power of 
repeating without variation. 



CHAPTER II. 



VOICE. 



Every one knows that school-boy tones in reading, and the 
dull and tedious manner of some speakers, give a sound to the 
voice that has little resemblance to the tones of an eloquent ex- 



48 GENERAL HABITS IN DELIVERY. 

temporaneous orator. It is well known likewise to be at first 
difficult, and indeed it is too generally considered impossible, to 
render a discourse that has been written but not committed to 
memory, as interesting and eloquent as when a speaker is suc- 
cessfully extemporizing ; and that even if the composition be 
memorized, its delivery cannot readily be made as interesting, 
as when the words as well as the tones proceed from a felicitous 
impulse of the moment. 

The explanation of these remarkable differences in the pre- 
vailing sound of the voice, lies in the fact that speaking to an 
assembly is a peculiar act of the mind and vocal organs. There 
are three distinct ways of communicating thought, each of which 
has its peculiar voice, as distinct from each other as they are 
from singing. These are talking, speaking, and reading. 

In the present chapter we shall consider the peculiarities of 
the speaking voice. 

It is perhaps the general opinion, that speaking differs 
from conversation merely in loudness and force. This 
is not true. We may talk with great force of emphasis, 
with strong gestures and with an extreme degree of 
loudness, and yet a person overhearing us in another 
room would never mistake our tones for those of a person 
speaking. On the other hand, we may speak with great 
earnestness and force, and yet not be sufficiently loud to 
be audible across an ordinary audience room. We may 
also speak in a languid and uninteresting manner, — one 
which is characterized by want of emphatic force, and 
at the same time those who hear without seeing us will 
not be liable to suppose that we are either talking or 
reading. 

These facts prove conclusively that speaking differs 
from talking or reading, in the peculiar quality of voice 
which it employs. In additional confirmation we may 



voice. 49 

mention that this distinction is recognized by reporters 
of legislative assemblies, inasmuch as they always dis- 
criminate between what is spoken in debate and the 
public conversation that frequently takes place among 
the members on the subject under discussion. 

As stated in the preface, the power of using the speak- 
ing voice seems always to be learned at some period con- 
siderably later than childhood. Those who begin to 
practice elocution without having previously gained the 
power of using this voice, by the practice of declamation 
in schools or by being accustomed to extemporaneous 
debate, often experience extreme difficulty in attempting 
to employ it. There have been some who have prac- 
tised declamation throughout their college course, with- 
out ever making use of it throughout a whole sentence. 

There is but one mode by which a person who is un- 
accustomed to its use can at once break into it. This is 
by suddenly speaking to persons at a great distance, with 
an unhesitating abandonment of earnestness, and in a 
tone almost as loud as a shout. When this experiment 
is tried, it will be found that the voice strikes into the 
upper part of the middle, or the lower part of the upper 
key, and has a peculiar openness and fullness, together 
with more or less smoothness of sound. There is also 
some degree of an expulsive and explosive utterance. 
The breath likewise issues more suddenly and rapidly, 
and appears to leave the chest with less air remaining in 
it, than after uttering the same number of words in loud 
conversation. So too, when at a pause, breath is taken 
again, it is done more suddenly and with deeper inspira- 
tion. 

5* 



50 GENERAL HABITS IN DELIVERY. 

We hence see the reason why an oratorical delivery is more 
rapidly acquired by those who address audiences in the open 
air. The exertion that is necessary in such situations, naturally 
brings a man into the use of the speaking voice. The excite- 
ment likewise which prompts the utterance of auctioneers, law- 
yers, and partisan debaters, as also the tumultuous zeal of ig- 
norant enthusiasts, have the same effect in developing the voice 
which we are considering. 

Loud and vehement speaking is thus at first the easi- 
est and most natural, and it is well known that in noth- 
ing do speakers improve more by practice, than in the 
power of being audible and forcible, without breaking 
into a discordant loudness. 

It will be well however to remark, that at the present time a 
fashion seems to prevail among the speakers in the northern and 
eastern parts of the United States, of studying to subdue the 
natural loudness of their voices in an extreme degree. By so 
doing, they not only become often indistinct and inaudible to 
those in not very distant parts of a room, but descend into a 
husky and unmusical voice, such as is not only incapable of in- 
teresting expression, but disagreeably aspirated and obscure. 
By subduing the voice in this artificial way, they likewise ex- 
hibit a mechanical monotony, which prevents the giving of va- 
rious expressions, for which an increased degree of loudness is 
natural and necessary. Cheerfulness, hope, joy, triumph, ad- 
miration, and many other emotions, have considerable loudness 
and openness of tone for their natural language, and cannot 
be expressed without them. 

When a speaker has thoroughly disciplined his voice and ear, 
in reference to adaptation to larger or smaller audiences, it will 
be neither necessary nor expedient for him to give himself any 
concern in respect to the degree of loudness that he may hap- 
pen to use. His voice will, as it were, instinctively accommo- 






VOICE AND RESPIRATION. 51 

date itself to the room, and be agreeably audible, without lia- 
bility to offend the most sensitive nerves by excess of force, 
while it will perpetually vary in the loudness required for ex- 
pression, according to his feelings and the dictates of propriety. 
Those therefore who wish to acquire command over their 
vocal organs as rapidly as possible, must practise loud speaking 
for a part of the time. Instead however, of depending merely 
on the rude practice above described, in which the voice ap- 
proximates to a shout, it will be better to consider the voice un- 
der the different heads which follow, and to practise exercises 
which cultivate those separate acts, the union of which produces 
not only the speaking voice, but that cultivated and musical 
tone which characterizes those speakers who are not only most 
agreeable to a delicate and sensitive taste, but who likewise 
have an effective power over the most obtuse and insensible 
hearers. 

DEPENDENCE OF VOICE ON RESPIRATION. 

Even in the calmest and most familiar styles of pub- 
lic address, the speaking voice is more dignified than in 
ordinary conversation, and may also be rendered more 
musical and expressive. This results from the fact that 
in all public speaking, the mind of the speaker is more 
or less in an elevated and excited state. This emotive 
and elevated state of mind produces a corresponding con- 
dition of body. 

The principal effect on the body is a deeper breathing. 
Reciprocally also, this deeper breathing enkindles the 
mind and excites the feelings. In strong emotion the 
thrill of the mind renders the breathing so deep, as to 
heave up the breast, and send a nervous thrill through- 
out the entire frame. So too we may to some extent 
increase the intensity of a feeling that is too languid, 
by voluntarily strengthening its bodily expression. 



52 GENERAL HABITS IN DELIVERY. 

The depressing emotions indeed, such as despondency, diffi- 
dence, or shame, make the breathing weaker instead of strong- 
er, and accordingly it is one of our most common instinctive 
resources when endeavoring to shake them off, to take deep 
breathings, and make sudden and vigorous muscular exertions. 

From this connection of voice with respiration, we may de- 
rive the most easy and successful of the various modes for culti- 
vating an improved degree of vocal power, depth and flexibility. 

On the same principle also depends the ability to speak with 
ease. It is the habit of not taking breath with sufficient fre- 
quency and fullness, that, so far as mere physical exertion is 
concerned, causes those who address even the largest audien- 
ces to become exhausted. 

This deep breathing furnishes the reason why in an anima- 
ted attitude the breast is heaved up and thrown forward, as was 
described in the previous chapter. 

Hence the first lesson for acquiring a commanding and ex- 
pressive voice, should be as follows. 

Stand in attitude for speaking as has been already de- 
scribed. 

Heave up the chest by taking a very deep breath, and 
keep it in this state by taking breath very frequently 
during the time of speaking a sentence. 

Never attempt to speak as many words as possible at 
a breath, but on the contrary catch breath suddenly and 
frequently, as is done by players on wind instruments. 

Assist the vocal effort by voluntarily taking on a state 
of excited and strong emotion. 

Aid the natural action of the breast, by strong ges- 
tures of appeal with the right arm or with both arms. 

At first students of elocution are liable to suppose that depth 
of tone and dignity of voice are necessarily connected with a 



VOICE AND RESPIRATION. 



53 



low pitch. For this reason it will be well to practise this lesson 
on each of the three keys which will soon be described. In 
the examples, the words will be divided into groups, after each 
of which breath should be taken. 



(Low pitch) 



EXAMPLE FOR PRACTICE. 
\ 

Sir ! I know 



/ 



the uncertainty of human affairs. 

\ 
(Higher pitch) But I see, I see clearly 

/ 
through this day's business. 

\ 
(A little lower pitch) You and/ may indeed rue it. 

\ 

(Still higher pitch) We may not live 

to see the time when this declaration 



(Lower pitch) 
(Higher) 
(Still higher) 
(Lower) 
(Still lower) 
(Still lower) 
(Quite high) 
(Same pitch) 



\ 

shall be made good. 

\ 

We may die : 

/ . \ 
die colonists, die slaves ; 



/ 



die, it may be, ignominiously , 

\ 
and on the scaffold. 

\ 
Be it so. 

\ 
Be it so. 

If it is the pleasure of Heaven, 

that my country shall require 

/ 
the poor offering of my life, 

\ 



(Middle key $ loud) the victim shall be ready, 



54 GENERAL HABITS IN DELIVERY. 

/ 

(Less loud) at the appointed hour of sacrifice, 

/ \ 

(Higher) come when that hour may. 

/ 
(Low ley fy rising) But while I do live, 

\ 

(Middle key) let me have a country, 

/ 
(Rising) or at least, the hope of a country, 

\ 
(Descending) and that, a free country. 

Remarks. — The directions for the changes of pitch in the 
above example, have been given with reference to solemnity 
and climax. A very different set of directions might be given, 
which would perhaps be equally appropriate. These, however, 
will coincide with the tastes of all in a sufficient degree for the 
purposes of practice. It is not indeed necessary for elementa- 
ry training of the voice, to use extracts from speeches at all. 
It is equally useful to practise upon tables of single words, such 
as will be hereafter given under the head of articulation. 

VOICE OR TONE OF ADDRESS. 

It is often observable that the voice of a speaker does 
not really address the audience. It is abstracted, and 
has precisely the same tone as if there were no auditors. 
Some likewise appear not to believe what they say. 
Even a soliloquy should be given with expressive ear- 
nestness, when an audience is present. Yet some speak- 
ers not only have the tone of soliloquy when addressing 
their fellow beings, but even that of merely repeating 
words without interest in their meaning. 

The practice of singing may be made highly useful in im- 
proving the voice for reading and speaking ; yet it is often ob- 



VOICE OR TONE OF ADDRESS. 55 

servable that those who devote considerable time to the practice 
of singing, have a singularly lifeless and inexpressive elocution. 

In all these cases the fault proceeds from bad 
habits of respiration. 

In singing the breath is retained, and only suffered to issue 
very slowly. A singer can execute more notes at a breath than 
a speaker can utter syllables, with the same slowness, provided 
the sound of the speaker's voice is earnestly expressive. 

Therefore practise sending out all the breath on each 
word, and catching it quickly and deeply between the 
words. 

Assist this mechanical practice by imagining a few 
persons before you, and making vigorous effort of the 
mind to speak directly and earnestly to them. 

The most advantageous style of speaking for early 
practice, is that of lawyers. Imitate the hearty earnest- 
ness and force with which they address juries. Defer 
the study of refinement and beauty of delivery, until 
after you have acquired force, and what people call a 
whole-souled heartiness. Universally, in the common 
criticisms of miscellaneous audiences, what is called in- 
teresting in a speaker, is really little else than force and 
vehement earnestness. 

The taste of colleges sometimes degenerates so much, as to 
favor what in the case of those who command no reverence by 
their learning, the world at large would call dullness and even 
stupidity. Remember that the object of speaking in college 
is to qualify for speaking after graduating. Students must pre- 
pare for dealing with the common sympathies of humanity. 
Whatever is worth doing at all, is worth doing well. Either 
speak with natural earnestness, or make up your mind that in 
future life you will decline invitations to make public addresses. 



56 GENERAL HABITS IN DELIVERY. 

It would be the most approved custom for a man who has pre- 
pared a written address, but whose delivery of it in person will 
certainly torture the patience of an audience, to offer his man- 
uscript to an acceptable speaker to read or speak it for him. 
This is the established practice of kings and chief magis- 
trates, and would often in the case of others be as much more 
dignified as more agreeable. 

Some entertain an obscure opinion, that earnestness and en- 
ergy will compromise their dignity. So indeed it will, if the 
matter is weak and the style bombastic. But in all other ca- 
ses, true dignity can only be exhibited by means of mental 
power joined to self-command. A person is always dignified 
who commands respect by an earnestness and an energy that 
are perfectly under his own control, and all good delivery re- 
quires an entire command over our own faculties. There is in- 
deed a sham dignity which is purely negative. It is the dignity 
of a tortoise drawing his head within his shell ! 

EXAMPLE FOR PRACTICE. 

Gentlemen of the Jury ! 

Suppose the prisoners, if the evidence were true, 

\ 

did conspire the king's death, \ 

\ 
what are you to found your verdict upon ? 

\ 
Upon your oaths. 

\ 
What are they founded upon ?\ 

\ 
Upon the oath of the witness. 

\ 
And what is that founded upon?\ 

\ \ 

Upon this, and this only, 

\ 
that he believes there is a just and omnipotent God, 



VOICE OR TONE OF ADDRESS. 57 

\ 

an intelligent supreme existence, 

/ 
who will inflict eternal punishment for offences, 

\/ 

or confer eternal rewards upon man, 

\ 
after he has passed the boundary of the grave. 

\ 
But the infidel ! 

\ 
By what can you catch his soul ? 

\ 
Or by what can you hold it? 

\ \/ / 

You repulse him from giving evidence, 

\ 
for he has no conscience ! — 

/ 
no hope to cheer him — 

\ , 
no punishment to dread. \ 

Gentlemen ! the case of my client is, 

\ 

that the witness against him is perjured ! 

\ 
and you are appealed to, 

/ 
in the name of that ever-living God whom you revere, 

\/ 

but whom he despises, 

/ \ 

to save him from the baseness of such an accuser. 

CURRAN. 

If naturally spoken, the earnestness of the above plea will 
cause most of the emphatic words to be given with the interval 
of the fifth, as described by Dr. Rush and Professor Day. The 
slide through this interval has been called the triple slide by 

6 



58 GENERAL HABITS IN DELIVERY. 

Professor Goodrich. With a few exceptions, it is the widest 
range of the voice in practical speaking, and occurs oftener in 
excited argumentation than in any other sort of delivery. 

AGREEABLE AN,D IMPRESSIVE VOICE. 

The perfect voice for reading or speaking, exhib- 
its what the scientific musicians call a pure tone. 

It is called by Dr. Rush the orotund. This new term seems 
scarcely necessary, and misleads most students, by inducing 
them to cultivate pomposity, or some sort of mouthing. The 
readers of Dr. Rush's invaluable work are apt to understand 
the orotund as being necessarily connected with a low pitch. 

The pure tone depends on an open state of the 
throat and back part of the mouth. 

The whole mouth should indeed be opened as wide as possi- 
ble in speaking, for unless this is done, the articulation will not 
be perfectly clear. But the pure tone does not depend on the 
opening of the teeth and lips. 

In this country a prevalent fault of the voice is nasality of 
tone. 

When the pure tone is used, the breath does not pass 
through the nose at all, except in uttering a few of the 
consonants. 

Let a person try the experiment of uttering the vowels a, e, 
i, o, u, y, in the pure tone, while the nostrils are closed by com- 
pressing them with the thumb and finger. He will find this 
closure of the nostrils makes no difference whatever in the sound. 

A perfectly pure tone can be acquired only by very 
long and careful cultivation. For practical purposes in 
life, it is sufficient to acquire as much of this quality as 



AGREEABLE AND IMPRESSIVE VOICE. 59 

will give a degree of dignity, agreeableness and fluency 
of voice sufficient to satisfy common audiences. 

It is only by a considerable degree of the pure tone, 
that a large room can be filled without disagreeable loud- 
ness and a fatiguing exertion on the part of the speaker. 

In disciplining the voice for the purpose of acquiring 
the pure tone, it is necessary always to begin with ex- 
plosion and the exhausting breath. 

This is the sole dependence in the schools of vocal music, 
and was introduced by Dr. Rush into the practice of elocution. 

The next practice should be in prolongation, and es- 
pecially prolongation with the median stress or swell. 

In general, elementary practice in explosion and prolongation 
should be on single words, such as are subsequently given in ta- 
bles. The following example, however, may with equal pro- 
priety be spoken in two different styles, in one of which the 
principal words have an explosive utterance, and in the other, 
exhibit prolongation and the swell. The former will be more 
vehement and excited, while the latter will manifest a stronger 
earnestness. 

The very best mode of studying and cultivating the pure tone, 
is to resort to the fields, and declaim such passages with a full 
shout. Then noticing the smooth and musical sound that the 
true shout exhibits, and the condition of the vocal organs that 
produces it, let the student learn to command the same quali- 
ties in a voice less and less loud, and on lower degrees of pitch, 
while at the same time it is kept perfectly natural. The voices 
of preachers who are accustomed to deliver sermons and exhor- 
tations at camp-meetings, are remarkable for power and a mu- 
sical quality, when used in a church. Neither are they neces- 
sarily loud. As the custom of preaching with too much loud- 
ness passes away, the improved vocal qualities acquired by such 
preachers become strikingly manifest. 



60 GENERAL HABITS IN DELIVERY. 

EXAMPLE FOR PRACTICE. 

\ 
STRIKE! TILL THE LAST ARMED FOE EXPIRES! 

/ \ 

STRIKE ! for your ALTARS and your FIRES ! 

\ 
Strike for the green graves of your SIRES! 

\ 
GOD! and your NATIVE LAND! 

No inflexion has been marked on the first word of each of 
the above lines, because either the rising or the falling may be 
used. The former will be more eager, and the latter more com- 
manding. The most decisive test of true skill in using the 
pure tone, is the ability to give such a passage as the above in 
the subdued loudness of parlor reading, and yet to make it 
sound like a bold war-cry. 

refinement and suavity of voice. 

The difference is very great between an utter coarseness of 
tone, such as we hear from teamsters and hostlers, addressing 
their cattle, and the agreeable and captivating sound of that 
frank and gentlemanly address, which expresses mutual respect 
between human beings. 

That quality of voice which expresses refinement of 
feeling, and cultivation of mind and manners, depends in 
some degree upon the pure tone, but principally upon 
the vanishing movement of the voice in the utterance of 
each syllable. 

Affectation of refinement and suavity, consists in the vanish 
being carried to excess and unduly prolonged, either in a sing- 
ing or in a whispering tone. 

Drawling proceeds from prolonging vowels without the 
slide. Drawling is an approximation to singing. 



REFINEMENT AND SUAVITY OP VOICE. 61 

To explain the vanishing movement of the voice, we may 
take the vowel a. If this be uttered in a polite and pleasant 
tone, yet at the same time with such a deliberate prolongation 
that we can watch the movement of the voice, we shall find that 
it commences with an opening fullness that indicates frankness, 
and then tapers away into the sound of ee. This final sound 
does not break offabruptly, but gradually vanishes into silence, so 
that the precise ending is imperceptible. This vanishing move- 
ment, when deliberately given, expresses considerateness or def- 
erence, and hence, as above mentioned, an affectation or excess 
of politeness prolongs it into a whisper, or prolongs the delicate 
termination with an effeminate tone. On the other hand, the 
coarse tone of hostlers, which has been alluded to, being ad- 
dressed to brute animals, is destitute of the vanishing movement. 

The vanish of the vowel o is into oo. That of i is into ee ; 
that of ou into oo, and that of oy or oi into ee. 

Every syllable however, whatever is its vowel, or whether it 
ends with a vowel or a consonant, exhibits this vanishing move- 
ment, unless the tone with which it is uttered is extremely 
coarse. 

For study and practice on the vanish, it is best at first 
to take separate words of one syllable, and afterwards to 
watch the voice, in respect to executing it well on the 
more prominent syllables of a whole sentence or para- 
graph. In the latter case none but the accented syllables 
need be noticed. 

If the above directions are not sufficient for enabling the stu- 
dent to distinguish this movement, let him experiment upon the 
word no. He will find that when uttered with politeness and 
consideration, the sound of oo is very perceptible at the end, 
while it is scarcely heard in the tone of rudeness or surliness. 

We remarked above that the opening fullness which precedes 
the vanish expresses frankness. It may likewise represent con- 

6* 



62 GENERAL HABITS IN DELIVERY. 

fidence and other such states of feeling. It will be found on 
trial, that a sneaking or sniveling, or an extremely embarrassed 
tone, begins otherwise. 

As this quality of the speaking voice ought to be 
habitually exhibited in all delivery whatever, no especial 
example is required for its cultivation. Yet as the fol- 
lowing extract from an address of Mr. Burke, on declin- 
ing to stand a candidate for reelection from Bristol, ex- 
hibits so strikingly that great orator's characteristic un- 
ion of dignity and grace, it may be well to subjoin it. 

EXTRACT FOR PRACTICE. 
/ 

Gentlemen ! I decline the election. \ 

/ 
It has ever been my rule through life, 

to observe a proportion between my efforts and my objects. \ 

I have not canvassed the whole of this city inform ; 

/ 
but I have taken such a view of it as satisfies my own mind, 

that your choice will not ultimately fall upon me. \ 

Your city, gentlemen, is in a state of miserable distraction ; \ 

\ 
and I am resolved to withdraw whatever share my pretensions 

/ 
[have had 
in its unhappy divisions. \ 

\/ 

To say that I am no way concerned, 

would be neither decent nor true. 

The representation of Bristol 

\ 
was an object on many accounts dear to me : 



REFINEMENT AND SUAVITY OF VOICE. 63 

and I should certainly very far prefer it 

to any other in the kingdom. \ 

\ 
My habits are made to it : 

/ 
and it is in general 

/ 
more unpleasant to be rejected after long trial 

than not to be chosen at all.\ 

But, gentlemen, I will see nothing except your former 

[kindness, \ 
and I will give way to no other sentiments 

than those of gratitude. \ 

/ 
From the bottom of my heart 

I thank you for what you have done for me.\ 

You have given me a long term, which is now expired. \ 

/ 
I have performed the conditions 

/ 
and enjoyed all the profits 

to the full ;\ 

/ 
and I now surrender your estate into your hands 

/ 
without being in a single tile or a single stone 

impaired or wasted by my use. \ 

I have served the public 

for fifteen years. \ I 

\/ 

I have served you in particular 

for six. \ 



64 GENERAL HABITS IN DELIVERY. 

/ 

What is passed is well stored.\ 

/ 
It is safe, and out of the power offortune.\ 

\/ 
What is to come 

\ 
is in wiser hands than ours ; 

and HE, in whose hands it is, 

/ 
best knows 

/ 
whether it is best for you and me 

/ 
that I should be in parliament 

or even in the world. \ 

The above extract will also be found one of the best in the 
language, for practising the student in those grave yet polite at- 
titudes and bendings of the body, which are required in an ad- 
dress so formal and yet so sincere. In the gestures, the hand 
will often require to be brought quite low, to correspond with 
the inflexions of the body and the low pitch of the cadences. 

KEYS OF THE SPEAKING VOICE. 

For practical purposes, it is best to recognize the old 
distinction of three keys in every person's speaking voice. 

These correspond somewhat to the registers, as they are 
called, of the singing voice. If we make the supposition that 
an absolutely perfect male voice for singing, would have three 
registers, one for the bass, one for the tenor, and one for the 
soprano, these would be analogous to the three keys of the 
speaking voice. 

These keys are the lower, the middle and the upper. 
The middle is the most important, and is that which 



KEYS OF THE SPEAKING VOICE. G5 

should generally be used. The other two however, 
ought to be carefully cultivated, since in varied and ani- 
mated addresses, all three are used, though the middle 
occurs in the largest proportion. 

Students of elocution who are also musicians, should bear 
carefully in mind the fact, that the range of pitch in speaking is 
lower and less extensive than in singing. The pitch of the 
middle key in most male voices is not much above the middle 
of the bass in singing. The higher notes of the air are never 
used in speaking, except occasionally in dramatic elocution. 
On the other hand, the voice descends lower in the cadences of 
speech than it ever does in music. Indeed, many good speak- 
ers sometimes descend in their cadences into a whisper. But 
this is a habit which is liable to appear affected, and is never 
necessary or expedient. 

The upper key of the voice is that which we instinc- 
tively use in calling to a person at a great distance — and 
upon this fact is founded a natural and easy mode of cul- 
tivating the voice in the different keys. 

To cultivate the upper key, we may employ as one 
mode of practice, the instinctive effort to make ourselves 
audible when declaiming to persons at a very considera- 
ble distance. 

Then by imagining the hearers at no greater distance 
than the length of a large church, our voices will natur- 
ally fall into the middle key. 

Finally, if we speak with a tone of deep earnestness 
of feeling to persons very near, the voice proceeds in the 
lower key. 

It is highly important to cultivate power and a pure tone 
throughout the whole range of each one's voice. In general, 
there are two classes of voices in respect to range of pitch. 



66 GENERAL HABITS IN DELIVERY. 

Some have their middle key on a high pitch and cannot readily 
be made to descend to a low pitch, while others have their mid- 
dle range very low and cannot readily strike into high and spirit- 
stirring notes. Popular audiences generally prefer to hear 
voices of high pitch. A majority of the most celebrated speak- 
ers have had such. Pitt and Fox are instances. Still the very 
best voices are capable of descending, with strength of tone, to 
a very low pitch, and at other times rising very high without 
loss of fullness and dignity. Each one should endeavor to im- 
prove his voice most in that part of its range in which it is 
naturally most inferior. 

It will be impossible to acquire a practical command over a 
particular key, merely by practising passages whose appropriate 
expression compels us to use it. On the contrary, we must dis- 
cipline ourselves in the power of speaking the same passage in 
each of the keys. For this reason we furnish no examples for 
the especial cultivation of the keys. Any extract or table of 
words may be used for this purpose. 



CHAPTER III. 



ANIMATED AND IMPRESSIVE UTTERANCE. 

In the previous chapter we treated of those qualities of the 
voice which are required in all speaking, whatever may be the 
particular expression demanded by the passage. The present 
will be devoted to two modes of utterance, without which even 
the most plain and calm delivery will be lifeless and uninter- 
esting. 

For the sake of rendering the study of elocution as simple 
and easy as possible, we shall not in this chapter consider the 
forms of stress, and the different ways of managing the slide, 
by which such kinds of expression are given as are classified in 



ANIMATED UTTERANCE. 67 

the third part of the work. Each will there be briefly describ- 
j ed under the style of delivery of which it is the characteristic. 



ANIMATED UTTERANCE AND SPIRITED ACCENT. 

Animation of voice and accent are here considered, in op- 
position to the faults of sluggishness and languor of tone. 
These faults proceed from want of what is called by Dr. Rush, 
the " radical stress," i. c. stress at the very commencement of 
each vowel. In lively moods of mind, the syllables of discourse 
issue suddenly. This suddenness gives spirit and animation to 
the voice. It is of course most striking on accented syllables. 

Animation of voice thus depends on a quick and sud- 
den impulse given to the enunciation of the vowel of 
each syllable, and on the strong and decided accent 
which naturally accompanies it. 

At the moment of beginning the vowel of each syl- 
lable, there takes place a slight check in the flow of the 
breath, and a sudden and instantaneous action of the vo- 
cal organs in the throat. 

This description will enable any one to exemplify the quality 
under consideration; but in practising according to it, care 
must be taken to make the sounds perfectly natural, or else if 
the utterance is quite loud, it will resemble the barking of a dog 
rather than human speech. 

The very highest degree of this quality is what is called ex- 
ploding in speech, and the explosive tone in singing. In rapid 
speech, in which the syllables are not prolonged, this stress is 
the same thing as what is called staccato stress in music. As 
in music the staccato stress may be given to the commence- 
ment of notes that are somewhat prolonged, so in speech the 
utterance may be slow and the syllables not shortened, yet at 
the same time each may be sent forth with a sudden and stri- 



Ob GENERAL HABITS IN DELIVERY. 

king effect, that awakens attention and arouses the spirits of 
the audience. 

This is one of the principal qualities of delivery, in conse- 
quence of which the mere sound of the voice, independently of 
the ideas offered, secures attention from the hearers. 

The very highest degrees of earnestness, however, as will 
presently be described, cause the voice to proceed in prolonged 
tones ; and in these, the swell of the voice often takes the place 
of the suddenly expulsive accent now under consideration. 

Great care likewise must be taken, that not only this, but all 
other qualities of voice be so managed when we cultivate elo- 
cution, as to be perfectly natural and agreeable. The sudden- 
ness of utterance which has just been described, should be con- 
joined with graceful ease and fluency. 

A very high degree of the vocal action we are now consider- 
ing, is exhibited in the natural utterance of various interjec- 
tions which express surprise, alarm, caution, command, or cheer- 
ful willingness. These interjections and imperative phrases 
are such as, Ah ! Oh ! Take care ! Who ! (to horses,) Come, 
come ! Look out ! Ay, ay ! 

EXAMPLE FOR PRACTICE. 

The following harangue from Shakespeare, requires an ex- 
tremely high degree of this utterance. It will be useful to prac- 
tise the declamation of such passages with great force, and even 
with violence. It must be remembered, however, that in ordi- 
nary delivery it should be impossible for common auditors to de- 
tect this peculiar vocal action, even when it decidedly characteri- 
zes the speaking. It must be so managed as to give spirit and 
attractive interest to the whole run of the voice, and yet with such 
ease and fluency, as to make the delivery even more graceful. 
It is not for any one a new use of the voice. The reason why 
it must be carefully cultivated, is that the necessary slowness of 



ANIMATED UTTERANCE. 09 

public speaking is apt to prevent its natural use, and substitute 
for it some sort of drawl. After declaiming the following pas- 
sage with the energy of a harangue, it will be well to practise 
repeating it again in the more rapid and familiar manner of 
reading or of conversation. By so doing, the student will be 
able to distinguish that the same suddenly expulsive utterance 
which in its highest degree represents the excitement of the mil- 
itary harangue, in a less degree and with a subdued loudness 
gives spirit and animation. 

To secure the confidence and cordial cooperation of intellec- 
tual young men, in such declamatory exercises as this which 
follows, it will be well to remark that they are of no value ex- 
cept for gymnastic vocal training. A man may excel in them, 
and yet have neither skill, taste, nor judgment, in the ordinary 
delivery of practical life. As an intellectual accomplishment, 
the ability to execute them need not be considered of higher 
rank than skill in playing ball. Many shrink from them in 
consequence of supposing, that they are considered by a teach- 
er as evidences of talent or mental cultivation ; whereas they 
in fact task the body more than the mind. Sensitive young 
men must however remember, that audiences cannot very well 
discriminate between faults of delivery that proceed from the 
mind, and those that result from natural weakness or infelici- 
tous habits of the bodily organs. We have occasionally observed 
that an auditor has accused a speaker of not having his feelings 
interested in his subject, when the fact happened to be, that he 
was both earnest and enthusiastic, but had merely a bad habit 
of not taking breath with sufficient frequency and fullness to 
render his voice flexible and significant. Such declamation as 
the following confers also free habits of respiration in speaking, 
as well as a voice habitually spirited. 



70 GENERAL HABITS IN DELIVERY. 

HARANGUE OF HENRY FTFTH TO HIS TROOPS BEFORE HAR- 
FLEUR. 

\ \ 

Once more unto the breach, dear friends ! once more ; 
Or close the wall up with our English dead. 

In 'peace there's nothing so becomes a man 

\ • 

As modest stillness and humility : 

But when the blast of war blows in our ears, 

\ 

Then imitate the action of the tiger: 

\ \ 

Stiffen the sinews; summon up the blood; 

\ 

Disguise fair nature with hard-favored rage : 

\ 
Then lend the eye a terrible aspect; 

Let it pry through the portage of the head, 

\ 
Like the brass cannon ; let the brow overwhelm it, 

\ 
As fearfully, as doth a galled rock 

\ 
O'erhang and jutty his confounded base, 

\ 
Swill'd with the wild and wasteful ocean. 

\ \ 

Now set the teeth and stretch the nostril wide. \ 

\ 
Hold hard the breath, and bend up every spirit 

\ 

To ITS FULL H„ $! 

/ / \ 

On, on, you noble English, 

Whose blood is fetch' d from fathers of war proof! 

\ 
Fathers that like so many Alexanders, 



IMPRESSIVE UTTERANCE. 71 

/ 

Have, in these parts, from morn till even fought, 

\ 
And sheathed their swords for lack of argument! 

\ 

Be copy now to men of grosser blood, 

\ 
And teach them how to war ! 

\ 
And you, good yeomen ! 

\' 
Whose limbs were made in England ! show us here 

\ 

The mettle of your pasture ! 

\ 
I see you stand like greyhounds in the slips, 

\ 

Straining upon the start. 

\ 
The game's afoot! 
\ 
Follow your spirit : and upon this charge, 

/ / \ 

Cry — Strike for Harry ! England! and St. George. 



impressive utterance, or prolonged 

TONES. 

Impressiveness depends principally upon prolongation. Be- 
fore attempting the regular declamation of extracts, the voice 
ought to be disciplined in the power of prolonging syllables and 
words, for purposes of emphasis and expression. Prolongation 
is the most universal form of emphasis, and characterizes all 
earnest delivery. 

It takes place however, only on syllabi lhat have what is 
called in prosody, long quantity. 

The English language is remarkable for abounding in mono- 
syllabic words, generally of Saxon origin, which have great 
strength and energy, in consequence of their length. 



72 



GENERAL HABITS IN DELIVERY. 



It will be useful to exhibit tables of these, arranging them ac- 
cording to the nature of their constituent letters. 

The first class consists of syllables that end with a 
long vowel. Such admit of indefinite prolongation, ac- 
cording to the strength and earnestness of the emotion 
with which they are uttered, 
true glow flee joy away straw bow sigh 
stay strow stray destroy high thou high now 

The next class consists of syllables in which a long 
vowel is followed by a consonant that admits of being 
lengthened. In prolonging these, both the vowel and 
the consonant following it are lengthened. Such sylla- 
bles also, may be prolonged to any extent required, 
all fame join came zone spoil feel 



wane roll 


time 


calm 


scowl 


prove 


fail 


rule frail 


revile 


grave 


save 


move 


soothe 


smooth breathe 


ire 


admire 


store 


jeer 


near 


lure roar 


stare 


aware 


fall'n 


strong 


soar 



The next have long vowels, and final consonants that 
can be prolonged to some extent but not indefinitely. 

made robe proud tide need 

stride found mind mild rolled 

road heed speed side sold 

The next have long vowels, but end with a consonant 
that cannot be lengthened. These words can be pro- 
longed, but not indefinitely. 

smite sweet state 

sleep flight mute 

partake mistake awoke 

flout daunt faint 

float height harp 



awake 


seek 


deep 


hope 


light 


smote 


heart 


haste 


shark 


short 



IMPRESSIVE UTTERANCE. 73 

The next have short vowels, but terminal consonants 
that can be indefinitely lengthened. 

swell dim on won shun pull 

well loll film starve still span 

hymn sum full thrill shall whelm 

serve sing bring string wing sprung 

wrung drum sung swing hung run 

G and Z at the end of syllables admit of some pro- 
longation. 

age oblige amaze feels joins days 
bridge edge muse fills joys ties 

Whispering letters at the end are not prolonged, 
leaf safe horse reach pelf 

teeth ice beach rush self 

Syllables with short vowels and only whispering let- 
ters or mutes at the end, cannot be prolonged. 

push hiss map clock shot 

split mists cut knot rash 

cliff struck ships pith insist 

test butt such stretch rest 

Many of this class however, are long for the purposes of me- 
ter, on account of the number of consonants at the end. They 
are long " by position," as it is called. 

In respect to the last class of syllables, the question occurs, 
in what way does the voice give those expressions that cause 
other syllables to be prolonged? This is done by making pre- 
cisely the same vigorous mental effort as upon those that can 
be lengthened. This effort however, causes the voice first to ex- 
ert itself with more force, and then, as the syllable does not length- 
en, an unconscious pause succeeds, which makes the syllable, 

7 * 



74 GENERAL HABITS IN DELIVERY. 

or at least the whole word, to occupy as much time, as if the 
sound were continued by prolongation. 

It will be unnecessary to furnish extracts for the practice of 
prolongation, because this use of the voice is the universal re- 
source of nature for all earnestness on emphatic passages, and 
is always exhibited in a high degree whenever large rooms are 
satisfactorily filled, or discourse rendered intelligible and inter- 
esting to very large audiences. It is the natural and necessary 
prolongation of seriousness and solemnity, which, if unaccom- 
panied with spirit and energy, produces the drawling tone 
which we sometimes hear in the pulpit. The faults of pulpit 
elocution should be corrected, not by adopting an inappropriate 
familiarity of manner, or the sort of energy that characterizes 
the bar and the legislative assembly, but by superadding hearti- 
ness and animation, to impressiveness. 

A single caution must be given with respect to the practice 
of such tables as we have given above. Instead of disciplining 
the voice by prolonging the syllables in a merely mechanical 
way, it is better always to imagine one's self to be speaking, and 
thus give to each a natural expression of emphatic earnestness. 



CHAPTER IV. 

ARTICULATION AND PRONUNCIATION. 

We place this chapter after those which treat of the general 
qualities and habits of the voice, because if these are bad, it will 
be difficult for articulation to be such as is desirable in reading 
or speaking, or for pronunciation to be truly graceful and 
elegant. 

ARTICULATION. 

In most cases a good articulation in conversation and famil- 
iar reading, either results from natural organization, or is formed 



ARTICULATION. 75 

in early childhood by models afforded in the domestic circle. 
The influences of schools however, are generally such as tend 
to produce the very worst habits of enunciation. In most 
schools, and sometimes in a college, lessons are recited in a 
manner so hurried and yet so hesitating, that the enunciation is 
like the following example. Suppose the rule to be repeated is, 
" A verb must agree with its nominative case in number and 
person." It will be recited thus : " Vub m'st 'gree w'ts nom- 
'tuv case 'n numbu 'n puss'n." 

Those who cultivate propriety of manners in a high degree, 
are remarkable for a pleasant and respectful distinctness of ar- 
ticulation. Suppose a person passing along a dark street, stum- 
bles against another ; if a mutual apology is not made, at least 
some exclamation ensues. In such a case, the tone of voice, 
and style of articulation, immediately indicates whether either 
or both the persons are refined and gentlemanly. In nothing is 
that cultivation of mind and character, from which cultivated 
manners proceed, so much shown as by the voice. Every one 
articulates distinctly, when addressing, with sincere respect, one 
much above him in age and station. The tone of patient def- 
erence indeed, is marked by little else than distinctness of enun- 
ciation. So too, that of high self-respect, or of condescension to 
presuming vulgarity, is remarkably elaborate and distinct. On 
the other hand, the vulgarity of manners which proceeds from 
an egotistical enthusiasm, such as forgets to accommodate itself 
to others, causes words to be hurried in utterance, and makes it 
difficult to catch them. Extreme and egotistical diffidence also 
makes the voice guttural, or what is called snuffling, and pre- 
vents the perfect formation of syllables. 

These remarks are made with no purpose of inculcating 
points of manners, but in direct and sole reference to public 
speaking. When such causes of indistinct articulation as these 
which we have just mentioned, are accurately explained, it be- 
comes easy to avoid them in that more excited, yet more col- 



76 GENERAL HABITS IN DELIVERY. 

lected state of mind, that distinguishes speaking from conversa- 
tion. The influences which make a person articulate distinct- 
ly, when respectfully addressing a superior, are similar to those 
which promote a good enunciation in speaking. In both, the 
importance of the occasion excites, intensifies, and steadies the 
mind. 

There is but one mode of practice by which we can 
in a short time, acquire the habit of a good articulation 
when addressing an audience. 

This is by a vigorous and concentrated effort of the 
mind, to explain or set forth to the auditors, the idea 
conveyed by the word we are uttering. 

This natural and distinctive effort tends to make the 
organs of speech enunciate distinctly every letter of 
every syllable: and this is what is meant by the very 
term, a perfect articulation. 

Experience proves that when students of elocution have done 
nothing more than study the principles and practice of articula- 
tion of single words, there is no certainty that they will exhibit 
an accurate and clear enunciation during the flow of continu- 
ous discourse. Yet the study of the analysis of syllables into 
their constituent letters, and the consequent principles of a per- 
fect articulation, should not be neglected. 

It is difficult however, to find time and opportunity for this 
study, in college instruction. There are but two ways in which 
it can be carried on ; the one, linguistically , or as a part of the 
science of languages, and the other by that patient and endless 
iteration which constitutes the mode of instruction in schools. 
For the latter there is not sufficient time in college, and it is 
inconsistent with the style of instruction most appropriate for 
intelligent young men. The former requires, on the other 
hand, more maturity of mental discipline, than it is possible for 
the younger classes in a college to possess. 






VOWELS. 77 

Audiences however, do not trouble themselves to distinguish 
an elegant from a clumsy articulation, provided they are ena- 
bled readily to catch the principal sound of every syllable. For 
practical purposes of speaking, the refinement of phonology 
and orthoepy are lost upon them. We shall presently devote a 
section to the head of distinctness, considered as different from 
articulation ; by which we mean the avoidance, either of omit- 
ting syllables, or of huddling them together. If audiences can 
distinctly catch the vowel of each syllable, they never complain 
of the imperfect articulation of a speaker, unless he has a lisp 
or some habit which is commonly referred to " impediment of 
speech." 

Training therefore, in what properly belongs to articulation, 
is the duty of parents and school teachers ; and when their in- 
struction or example has left bad habits, the teacher of elocution 
generally has time and opportunity to do little more, than in- 
form his pupil of the fact, and advise him to institute some course 
of self-cultivation. But if the student learns to explain thought, 
and give natural earnestness of expression, his articulation will 
necessarily be sufficiently perfect for practical purposes in 
speaking. Elegant reading and artistic recitation of poetry, 
indeed, as also vocal music, require a careful analysis of letters 
in the minutest points, and a patient and persevering discipline 
of the vocal organs and the ear. But these subjects do not 
come within the scope of the present treatise. 

Yet as some directions are required for the management of 
articulation in speaking, the following are given as the result of 
experience in teaching, 

VOWELS. 

In studying articulation, it is not strictly necessary to inves- 
tigate the different sounds of the vowels. Any errors in these, 
will fall under the head of pronunciation. 



78 GENERAL HABITS IN DELIVERY. 

Yet we must be careful that no vowel be omitted. A large 
part of the faults of articulation, consist in omitting short vow- 
els, and thus contracting words by huddling the consonants to- 
gether. 

E. g. p^rtic'lar for particular ; 'xample for example, &c. 

The first practical rule, then, in articulation, is never 

TO OMIT A VOWEL. 

It may happen, however, that the best custom in pronuncia- 
tion drops it, in order to prevent what is called in Latin and 
Greek a hiatus, as in the word extraordinary, which is to be 
pronounced extrordinary . 

A certain degree of easy and pleasant deliberation, such as 
is heard from the citizens of Philadelphia, and in general from 
the polished inhabitants of the southern states — a deliberation 
just sufficient to admit of room for every vowel even in the most 
rapid and fluent utterance, is the most attractive beauty of ar- 
ticulation. 

It must be carefully borne in mind, that the more syl- 
lables a word contains, the more time will be required 
for its complete utterance. 

The most common faults under this head, proceed from an 
improper shortening of words, or clipping them, as it is called ; 
or from what the French, when they describe the English pro- 
nunciation of their own tongue, term the swallowing of vowels. 

Still it is very common to observe, that those who have taken 
considerable pains to acquire a good articulation, enunciate 
with a pedantic slowness and stiffness, somewhat like a school 
teacher putting out words to be spelled. Such do not accent 
with sufficient spirit to make the utterance of the unaccented 
syllables light and fluent. 

A strong accent must be studiously cultivated by all 
who would acquire a good articulation of the English 
tongue. 



VOWELS. 79 

This causes the voice to glide lightly and gracefully 
over the unaccented vowels, while at the same time 
they are uttered with perfect distinctness. 

It is a curious fact in regard to speech, that if in addressing 
even a very large assembly, the accented syllables of words are 
heard, the others will also be sufficiently audible. It will not 
be necessary for the speaker to bestow attention upon the oth- 
ers, further than not to skip them or huddle them together. 

It is also an important fact, that by cultivating a vigorous ac- 
cent, it becomes easy to avoid the most important of all the er- 
rors which distinguish an elegant from a slovenly pronunciation. 
And as a truly elegant pronunciation is inseparably connected 
with a clear and graceful articulation, we shall mention under 
the present head the following fault. 

It is that of not sounding vowels distinctly and defi- 
nitely when they occur in unaccented syllables, but on 
the contrary, either dropping them or changing them in- 
to short u. 

It will be useful for many, to practise upon the left hand col- 
umn of the following table. 

believe, and not b'lieve or bulieve 

opposite, opp'site or oppusite 

domestic, d'mestic or diimestic 

monument, mon'miint or monumiint 

commencement, c'mmencemunt or commencemiint 

innocence, inn'c'nce or inniisunce 

confidence, conf'd'nce or confudunce 

government, gov'm'nt or govunmunt 

liberty, lib'ty or libutty 
accident, ax'd'nt or axudunt 

opinion, 'pinion or upinion 

polite, 'plite or pulite 

propose pr'pose or prupose 



80 



GENERAL HABITS IN DELIVERY. 



On the other hand, many who aim to be distinct, mispro- 
nounce words in their endeavors to become so. They often 
change short a and short i 9 of unaccented syllables, into the 
(shortened) long sounds of the same letters. Thus, 
America becomes Americay ligament becomes ligayment 



algebra 


algebray 


permanent permaynent 


Canada 


Canayday 


armament armayment 


amuse 


aymuse 


predicament predicayment 


atone 


aytone 


efficacy efficaycy 


abate 


aybate 


delicacy delicaycy 


So too- 








civilization becomes civilization 




colonization 


colonization 




naturalization 


naturalization 




organization 


organization 




generalization 


generalization 



We might furnish such tables in reference to the other vow- 
els, but a and i are the most important. Let us again repeat 
that it will be useless to attempt to correct such faults, without 
cultivating a spirited accent. When they exist in a high de- 
gree, the tone of voic e is generally drawling. 



CONSONANTS. 

The English language is remarkably distinguished by a strong 
enunciation of consonants at the ends of syllables. A large 
number of its syllables are also characterized by ending with 
clusters of consonants which are difficult to enunciate. 

It is highly useful in reference merely to speaking, to disci- 
pline the articulating organs in their enunciation. By so doing, 
we characterize the general sound of our utterance by a manly 
firmness and energy. Some consonants, however, are never, 
even in the most careless utterance, enunciated indistinctly, ex- 
cept by those who have what is called " an impediment of speech 






CONSONANTS. 81 

Those that are liable to be imperfectly articulated, are 
T and D, K and G, J, S and Z. 

The care necessary to be taken with consonants is, 
however, very much reduced by the fact, that those at 
the beginning of syllables are not, as a general rule, to 
be dwelt upon, or uttered with intentional energy. No 
one fails in distinctness in reference to these. 

It is only at the end of a syllable, that they are liable 
to be enunciated too weakly to be heard, or if heard, to 
give a feeble and effeminate character to the enunciation. 

Observe, we say feeble and effeminate. Our language, when 
correctly enunciated, is remarkable for the manly energy which 
is bestowed upon it by our vigorous accent and strong enuncia- 
tion of terminal consonants. On this account, it really seems 
the most difficult of all European dialects to enunciate well. 
Even the Polish and Russian are probably easier, by reason of 
the less close sounds of their vowels, and the weaker and more 
whispering utterance of their consonants. 

The following practical directions, however, are found on tri- 
al to be of so great assistance, as to remove most of this diffi- 
culty in the case of clusters of consonants at the ends of sylla- 
bles. 

When several consonants follow a vowel, do not dwell 
too long on the vowel, but expend the articulating effort 
principally on the consonants that follow. 

Pass on rather rapidly to the very last consonant of 
the terminal cluster, and let that be dwelt upon. 

For example, in uttering the word storm'dst, no pains should 
be taken with the st preceding the vowel, neither must the vow- 
el be much prolonged. But as r, m, d } s and t are all to be ut- 
tered at one impulse, there still is danger of dwelling too long 
on some one of them before the voice arrives at the t. There- 

8 



82 



GENERAL HABITS IN DELIVERY. 



fore if we pass rather rapidly over all but this, the organs will 
be able to enunciate it firmly, and the syllable will yet have 
been extremely long. 

The following table will be both amusing and useful to prac- 
tise. In doing so, it must be borne in mind that in many com- 
binations d sounds like t. 



stretch'dst 


scorch'dst 


screech'dst 


stamp'dst 


prompt'st 


splash'dst 


shrink'st 


thrust'st 


hop'dst 


thump'dst 


harp'dst 


clutch'dst 


stopp'dst 


loath'dst 


help'dst 


splitt'st 



To the above rule for dwelling on the last consonant, there 
is one important exception. 

The consonants s or sh should be sounded as short as 
possible, to avoid a disagreeable hissing. 

There is no danger that they will not be heard, as their sound 
is so sharp. E. g. 

hiss push life's scraps six 

miss flush depths lengths sense 

cross strifes scarfs shrinks sconce 

Remember that after all consonants that are not strict mutes, 
(p> t> k } ) or tne whispering letters, f and sharp th y s sounds 
like z. It will contribute to firmness of general enunciation, 
to practise the following table, and discipline the organs in 
sounding s like z. 

flags 

drubs 

builds 

steals 

dulls 

seethes 

zones 

spins 



breeds 


spreads 


spends 


rubs 


steers 


speeds 


scuds 


spills 


dwells 


drills 


writhes 


mouths 


scorns 


thrones 


evens 


stuns 



drugs 


guards 


ribs 


babes 


flags 


slugs 


spoils 


swells 


baths 


bathes 


storms 


spurns 


heavens 


sevens 


strives 


shelves 



CONSON A NTS 



83 



cents 


sense 


acts 


ax 


masts 


mass 


fields 


feels 


drafts 


draffs 



starves lives lives moves saves 

serves things strings thongs mouths 

clothes throngs brings scares scores 

flares stirs fires sires wears 

There is a large number of words, in which the letters t and 
d are apt to be dropped from a cluster. 

The following table will afford specimens of words that are 
liable to be pronounced alike. 

finds pronounced like fines wilds pronounced like wiles 

minds mines 

faults false 

mists miss 

colds coals 

chants chance 

In the same way likewise, 

boldly is often pronounced bolely 

coldly colely 

friendly frienly 

kindly kinely 

blindly blinely 

worlds worls 

yields yiels 

softly sofly 

drifts drift's 

accepts acceps 

adepts adeps 

enactment enacment 

- Even when such tables as the two last are before them, many 
find it difficult to make the requisite discrimination. The fol- 
lowing direction will therefore be found useful, not only to such, 
but to all who wish to unite distinctness with grace. 

Articulate t or d, in connexion with the following, and not 
with the preceding consonants. Enunciate the words as if 



pos-ts 


coas-ts 


drif-ts 


gif-ts 


attemp-ts 


exemp-ts 


dissen-ts 


has-tes 


las-ts 


lis-ts 



84 GENERAL HABITS IN DELIVERY. 

they were divided as follows, yet let the utterance be rapid and 
without a break in the graceful smoothness that is necessary. 

soun-dly roun-dly 

direc-tly exac-tly 

sof-tly softness 

swiftly enac-tment 

erec-tness frien-dly 

To show the correspondence of the above direction with the 
effort which the articulating organs naturally make, we will 
mention the well known fact, that the low Londoners, or cock- 
neys, as they are called, make two syllables of words of one syl- 
lable that end in sts. Thus, posts they pronounce postis ; Jists, 
Jistis, &c. 

ARTICULATION OF POLYSYLLABIC WORDS. 

Upon the strong accent, which characterizes the English lan- 
guage, depend as has before been suggested, many of the most 
important points, both of its articulation and pronunciation. 

The consonants indeed, of unaccented syllables, are 
to be enunciated as perfectly as in those which are un- 
der the accent ; but the vowels have a weak, and often 
to some extent, an obscure sound. 

It has been mentioned also, that it is only by means of a de- 
cidedly strong and spirited accent, that a distinct articulation of 
our language can be effected with rapidity and fluency. 

It is a fact to which there are bat few exceptions, that 
in English, the accented syllable of a word is made long. 
Hence it is one of the most important rules for easy and 
graceful articulation, to dwell upon the principal accented 
syllable. 

After so doing, the voice is enabled to glide fluently over the 
unaccented ones that follow. When likewise the accented syl- 



POLYSYLLABIC WORDS 



85 



table is preceded by such as are unaccented, the voice passes 
distinctly, yet lightly over them, and then breaks out into strong 
utterance on that which receives the accent. Take such a 
word as in-ac-CES-si-ble-ness. The voice glides lightly along 
on the first two syllables, as if preparing itself for an effort on 
the accent; it then bursts out upon the syllable ces, and dwells 
long enough on it to acquire an impetus, that carries it " trip- 
pingly," (to use Shakespeare's expression,) over the remainder 
of the word. In this progress of the voice, no conscious regard 
is bestowed upon the secondary accents. These are quite 
light, and it is only the primary one upon which any real exer- 
tion is made. The following table will illustrate this principle. 



irreconcilably 

impenetraoiTity 

undisfmguishable 

characteristically 

o/osphemously 

magistracy 

invariableness 

incons/derableness 

ob/eetionableness 

unpremerfitatedly 

disciplinary 

peremptorily 

temporarily 

secondarily 



individuality 

mediatorial 

irremediably 

philan^ropically 

orthograph\ca.\\y 

etymo/ogically 

unimaginable 



insurmowntableness 

circumstantially 

inexcwsableness 

physiognomical 

unphilosopAically 

vigilantly 

inrractableness 

interminableness 

supplicatory 

trigonomefrically 

extravagantly 

perpenefrcularly 

rapturously 

Zw^ewarmness 



mathematically 
instantaneously 
incommensurably 
customarily 
arbitrarily 
momentarily 
/ro/icsomeness 

This is perhaps the most suitable place in which to introduce 
an important principle in pronunciation, which depends entirely 
upon the management of accent. 

The principle is, that all syllables which follow the 
primarily accented one, are to be uttered as lightly as is 
consistent with rendering them barely audible. 

8* 



86 



GENERAL HABITS IN DELIVERY 



When in such cases, the last syllables of the word contains a 
long vowel, or a short one with two or more consonants, many 
persons suffer it to issue with a semi-accent, or with an inelegant 
drawl, either of which destroys the trippingness of the utterance. 
The following table will furnish examples. In pronouncing such 
words, the syllables that succeed the accented one should be 
made as short and light as possible. For example, appetite 
should not become appetyet. 



appetite 


contraband 


persecute 


tefescope 


countersign 


prosecute 


cataract 


microscope 


superfine 


execute 


s?/6trahend 


snostitute 


intercourse 


dignify 


hypotenuse 


vagabond 


anecdote 


simplify 


sarcasm 


varioloid 


renovate 


gratify 


paraphrase 


equipoise 


reservoir 


suf Toe ate 


tomahawk 


crncify 


rampart 


diphthong 


arrogate 


turpentine 


glorify 


lukewarm 


pedigree 


phar'isee 


rnenmatism 


monotone 


mysticism 


scepticism 


melodize 


Judicature 


temperature 


caricature 


economize 


particularize 


naturalize 


concentrate 


remonstrate 


commzmicate 


in^'midate 


investigate 



The same principle explains a peculiarity of our American 
pronunciation, which is often objected to by the English. Such 
words as territory , we are apt to pronounce (to use an English 
criticism) terri-tory : so likewise matrimony becomes matri- 
mony. Walker directed to give the short u in these words, as, 
territurry. But all that is required is an accent on the first syl- 
lable, sufficiently strong to cause the voice to glide trippingly 
over the others. 



mateimony 


territory 


controversy 


patrimony 


repertory 


presbytery 


ceremony 


o/fertory 


anditory 


testimony 


adversary 


fnoutary 



POLYSYLLABIC WORDS. 87 

While it is commonly noticed that the English style of pro- 
nunciation differs considerably from the American, few or none 
have explained in what the difference consists. The former 
however, will be found on observation, to use less nasality of 
voice, and to employ a much stronger accent. The Americans 
incline to drawl. In the English West Indies, the drawl is so 
ludicrous, and is combined with so many other errors, that the 
late Mr. Rafinesque, who was a Sicilian by birth, classified the 
West Indian mode of pronouncing, as a distinct dialect of the 
English language! 

We mentioned lately, (page 81,) that it is only a part of the 
consonants that are liable to be imperfectly articulated by those 
who have no lisp or impediment of speech. Perhaps we ought 
to devote a few words to explaining the point. Take such 
words as back, bag, bed, Jiat, buzz, age. It is very common to 
hear them uttered with a tendency to a drawl — not amounting 
however to a true drawl — which proceeds from a feeble enun- 
ciation of the terminal consonant. From their imperfect 
strength of articulating organs, children always exhibit this pe- 
culiarity. We will endeavor to illustrate it by the following 
mode of spelling, ba-ag, ha-at, &>c. Still farther to explain the 
point, we will mention the fact, that all such words should be 
pronounced with that shortening of the vowel, and force on the 
final consonant, that is represented by the ancient mode of 
spelling such words, viz. bagge, hattc, &,c. That is, they 
should have, when not followed by another word, the vocula, as 
it is called, which is a whispering sound of short e or u after the 
consonant. This vowel is represented in French by the mute e 
of that language. It will readily be perceived that there is a 
connexion between this firm and strong enunciation, and the 
habit of strongly accenting. 



88 GENERAL HABITS IN DELIVERY. 



PRONUNCIATION. 

As long as it is the main object of the instructor to qualify 
students for practical speaking, he will hardly find time and op- 
portunity for correcting many errors in pronunciation. During 
the excitement of earnest delivery, the minds of unpractised 
speakers can seldom be sufficiently at leisure, to allow of chang- 
ing fixed habits in regard to this point. 

It would also seem scarcely advisable to occupy the time of 
the younger classes in a college, with lessons or lectures on 
pronunciation. Coming from different districts of the country, 
they often bring with them local peculiarities; but these are 
soon lost, and the average pronunciation in a large institu- 
tion, corresponds sufficiently with that of men of education 
throughout England and the United States. Those who may 
wish to investigate the subject with peculiar care, can do this 
by themselves with the aid of books, and in leisure moments. 
For formal lessons or lectures on the subject, the Senior year 
would seem to be most suitable. If however, formal and full 
instruction on this point be deferred till that period, it ought to 
be given in a linguistical, and if possible, in a learned manner. 

The pronunciation which formerly prevailed in the New 
England states, and which in the parent country still remains 
among the uneducated classes, is ill adapted to the purposes of 
delivery, and on this account more than from the influence of 
fashion, has now been universally rejected by public speakers 
in both countries. It is not only more guttural and nasal, but 
more indefinite and obscure in the sounds of the vowels. It also 
fails of conforming to that great law in English phonology, 
which requires us to avoid all hiatus, and all difficult transi- 
tions in the utterance of letters, by means of smooth and gliding 
sounds. What is now cultivated as a genteel pronunciation, is 
not only more fluent and facile, and consequently better suited 






PRONUNCIATION. 89 

to rapid utterance in familiar intercourse, but in public speak- 
ing, is capable of being rendered more easily audible and intel- 
ligible, without disagreeable loudness. This pronunciation is 
as yet better exhibited in the middle and southern states, than 
in New England. The writer once asked an educated Spanish 
gentleman, in which part of our country he found it easiest to 
understand our language when he listened to the conversation 
of the people. He replied, in the southern. 

It is remarkable that up to this time, Walker has been the 
only author who has attempted to investigate systematically, the 
laws of English pronunciation. No other writer has done more 
than make detached and fragmentary examinations of the sub- 
ject. Indeed, scarce any other writer in our tongue has appa- 
rently had a clear conception that the tendencies to change of 
pronunciation in any living dialect follow certain definite laws, 
which laws are in accordance with the genius of the language, 
and the intellectual and social habits of the people. Yet Walker 
was as modest as he was industrious, and apparently never im- 
agined it possible that an absurd effort might be made, to set up 
his dictionary as an immutable standard by which to fix forever 
the pronunciation of a living language spoken all over the world. 
Those who declaim against Walker, often exhibit a surprising 
ignorance of the principles which he has investigated in the in- 
troduction to his dictionary, and always manifest a want of ac- 
quaintance with the fact, that changes in pronunciation are 
principally caused by the more or less unconscious efforts made 
by persons of cultivated minds and manners, to be at once distinct 
and fluent, as well as to conform to the peculiar analogies and 
laws of their vernacular tongue. As the study of the present 
subject is however, not very necessary to those for whom this 
work is written, it does not conform to its plan and objects to 
treat of it in detail. A discriminating and judicious classifica- 
tion of the most prevalent errors in pronunciation, may be found 
in the original and valuable work of Professor Goodrich, on elo- 
cution, 



90 GENERAL HABITS IN DELIVERY. 

It ought to be remarked, that old-fashioned modes of pro- 
nunciation are not necessarily vulgar. Vulgarity in this re- 
spect depends on vulgarity of articulation and tone of voice, or 
on mere affectation of refinement and fashion. The most vulgar 
pronunciation heard in our country, is that of those who affect 
what are called Walkerianisms. They who do this, violate 
Walker's own principles more than those of any other writer. 
His taste was manly and truly English ; and it is strange 
that merely fashionable and " Frenchified" affectations, should 
be charged to the account of the very man who was instant and 
earnest in opposing them. 

Walker was a man of education, and was accustomed to the 
most learned and refined society of his day. His dictionary was 
suggested by the request of one of the universities of England, 
that he should deliver a course of lectures on the laws of English 
orthoepy. Yet the pronunciation of our tongue has become 
more regular since his day, and the changes that have taken 
place may be found in the work of Jameson. 

For common reference, the student of this subject needs noth- 
ing more than the table prefixed to the abridged octavo edition 
of Webster's dictionary. In this table, he will find the modes 
of pronunciation, adopted by different orthoepists, arranged in 
the order of the times in which they wrote. If he carefully ex- 
amines it, he will feel inclined to be guided in general by Walk- 
er and Jameson, and when these differ, generally by the latter. 
There is a strange mistake prevalent respecting the late honored 
and venerated Dr. Webster, that he made it one of the objects 
of his great work, to give a full exhibition of the pronunciation 
of our language. Such was neither one of his real nor pro- 
fessed objects. In none of his various and numerous works, 
has the present writer been able to find any thing from which 
he could even conjecture what sound Dr. Webster thought 
ought to be given to the letter u, in such words as nature and 
feature. In his " Elementary spelling book," indeed, he fur- 



PRONUNCIATION. 91 

nishes a table of a few such words, but gives no intimation of 
the manner in which they ought to be pronounced, and merely 
mentions that the best public speakers in England and this 
country do pronounce them in a certain way, viz. with the short 
u preceded by y. It should be observed however, that in this 
statement the learned author is unquestionably mistaken, as it 
is the long and not the short u that is required by distinctness, 
euphony and analogy, and such is undoubtedly the custom of 
speakers of the highest cultivation. In his " American spelling 
book," Dr. Webster in too many cases, directed to pronounce 
different unaccented vowels alike, giving as an example, that 
rural andjttful, were pronounced with the same vowel sound in 
their last syllables. In a " table of words different in meaning, 
but alike in pronunciation," he gives the two words chronical 
and chronicle, as being the same in sound. 

No one who has hitherto written on this subject seems to 
have been aware, that the ultimate test of the true sound of un- 
accented vowels, is only to be found by trying words, with a 
perfectly clear and open tone of voice, in the deliberate articu- 
lation required for elevated delivery before large audiences — in 
the artistical recitation of poetry, or in vocal music. In these 
circumstances — or at least in the two latter — every unaccented 
vowel must have a definite sound. In vocal music, especially, 
no indefinite vowel sounds are ever admissible. If the unac- 
cented vowels are tried by these tests, Walker will be found to 
have investigated the subject with remarkable accuracy. 

Some however object, that in the rapid utterance of conver- 
sation, such perfection of articulation is unattainable. In the 
case of many of the thick and husky voices of men, this ob- 
jection is undoubtedly well founded. But let those who make 
it, listen to the articulation of unaffected and elegant women, 
who are distinguished for beauty of conversation, and they will 
find that the minutest refinements directed by Walker, though 
unconsciously, are yet habitually exhibited. 



92 GENERAL HABITS IN DELIVERY. 

The plan and object of this work, require no other directions 
to be given for pronunciation than the following. 

In general, avoid pronouncing in any way that will 
attract attention, either by its erroneousness or its singu- 
larity. If your audience are led to take any particular 
notice of your mode of pronouncing, their attention will 
be distracted for a time from the main object of the 
speaker. 

Dr. Rush observes, that "for every word mispronounced, the 
audience will miss at least ten words that follow." 

If you are a man of education, pronounce in such a style as 
the audience are accustomed to expect from well educated gen- 
tlemen. 

Remember that it is not one of the necessary duties of a 
public speaker, to teach new modes of pronunciation to those 
whom he addresses. For example, though in some parts of 
our country the English pronunciation of the word deaf (def ) 
is now established, and will be expected from a speaker of ed- 
ucation and refinement, yet it would be more useful to avoid it 
when delivering an address in a part of the country in which it 
had never been heard. 

Remember that your pronunciation can never be refi- 
ned and graceful, as long as your articulation remains 
slovenly and obscure. 

Some of the most important errors in pronunciation, have 
already been pointed out in the preceding chapter on articula- 
tion. Before dismissing the subject, reference ought to be made 
to the valuable labors of the Rev. A. B. Chapin, in regard to 
the laws of correspondence between the orthoepy and the or- 
thography of our language. They are exhibited in his " Spell- 
ing Book." 



CONTINUOUS DISCOURSE. 



CHAPTER V. 

CONTINUOUS DISCOURSE. 

In the previous chapters we have considered, first, the gene- 
ral qualities and habits of the voice ; next, those requisites of 
expression which are common to all delivery ; and in the last, 
the management of the voice in articulating and pronouncing 
single words. 

The present chapter will be devoted to the practical difficul- 
ties which every one experiences to a greater or less extent, 
when he first attempts to exhibit these requisites during the flow 
of continuous discourse. 

The facts which we shall proceed to explain, may readily be 
observed when we investigate the natural action of the organs 
of speech in conversation, and are still more striking in the ut- 
terance of accomplished orators. Those however who have 
never practised public speaking, experience more difficulty in 
making their delivery natural in these requisites than in any 
others. If the room to be filled is quite small, the delivery ap- 
proximates in some respects to conversation, and the difficulties 
alluded to are less felt. But when it is large, it is only in con- 
sequence of practice in large rooms or in the open air, that a 
speaker readily learns to use his voice in a manner so natu- 
ral and easy, as to be entirely free from vociferation or rant on 
the one hand, or a tedious monotony on the other. It must be 
confessed that teachers of elocution have hitherto failed, in 
most cases, of accomplishing for their pupils what has been ex- 
pected from them. There are probably but two principal rea- 
sons for this failure — one, the habit of dwelling chiefly on mi- 
nute and comparatively uninfluential points of enunciation ; 
and the other and more essential one, that of generally giving 

9 



94 GENERAL HABITS IN DELIVERY. 

their instruction in small rooms, and neglecting to investigate 
the principles upon which depends the adaptation of delivery 
to large ones. 

Though a chapter will hereafter be devoted to the subject 
last mentioned, yet the above remarks have been thought ne- 
cessary in this place, because the importance of the topics 
which we are now to discuss is more readily perceived when 
reference is made to large assemblies. It may be well still farther 
to anticipate, by mentioning that those whocan readily accommo- 
date their reading or speaking to very large audiences, find no 
difficulty whatever in contracting and reducing it sufficiently 
for small ones. On the other hand, those whose whole experi- 
ence has been in speaking to a small number, have a new art 
to learn when they first attempt to address several hundreds or 
thousands. The truth of this last assertion is sometimes deci- 
dedly manifest, when an opportunity is afforded of comparing 
lawyers with clergymen, in addresses before popular assemblies. 

ACCENT OF CONSTRUCTION, OR GROUPING OF WORDS. 

This is one of the most important principles in the phonolo- 
gy of any language, and it is surprising that it has not hitherto 
received more attention. It seems to have been first described 
by Walker, and no longer ago than the time of Dr. Johnson. 
The Greek and Roman grammarians recognized it in the case 
of some words to which they gave the name of enclitics, but 
failed to discover the extent of the principle upon which de- 
pended the character of the few words which they thus named. 
Walker gave the principle no name, and indeed appears not 
fully to have comprehended it, since he notices it only in rela- 
tion to emphasis. The first who gave it a name was Guest, in 
his great work on English Rhythms, published a few years 
since. From him we have adopted that of accent of construc- 
tion, which appears at the head of this section. The other ap- 






ACCENT OF CONSTRUCTION. 95 

pellation, that of the grouping of words, we have generally em- 
ployed in familiar teaching, because it so readily explains itself, 
and corresponds so well with the action of the mind when we 
read or speak from a written or printed page. 

The Latin word signifying to read is legerc, which properly 
means to gather. As the eye runs along the uniform lines of 
a printed page, the mind gathers the words — not separately, 
however, but into short groups. In a corresponding manner, 
the vocal organs do not attempt to utter each word by itself, but 
on the contrary, enunciate a group of several words with a sin- 
gle impulse of the voice. The mind connects the words in 
groups, so that each group shall express an idea. The groups 
are then individualized in the vocal effort, by means of a strong 
accent on the principal syllable of each. For example, in the 
sentence, "In the beginning was the word," there are two 
groups, viz. in the beginning and was the word. Each of these 
has but one primary accent, thus : in the beginning — was 
the word. Each is uttered with precisely the same vocal ac- 
tion as if it were a polysyllabic word. In the same way as in 
the word articulate the exclusive accent on the i gives a unity 
to the group of syllables, and thus individualizes the word, so 
it is with the exclusive stress on the accented vowel of the above 
groups of words. 

We repeat again, that this great law of language is of funda- 
mental importance in reference to learning to read or speak. 

In fact, but two things are required to make any one who 
has a cultivated mind, a speaker ; and it is curious likewise that 
these two are closely and almost inseparably connected in our 
natural impulses. These are, first, the habitual command of 
the speaking voice; and secondly, the habit of applying it to 
words taken in groups. 

In the second part of this work, we shall again resume this 
subject, and show how the groups are often lengthened by the 
still stronger accentual and individualizing power of emphasis. 



96 GENERAL HABITS IN DELIVERY. 

At present we must confine ourselves to the most elementary 
form of the principle. 

The formation of the groups depends on the following facts 
in regard to language. 

First, certain words denote complete ideas by them- 
selves. These are verbs and nouns. Adjectives also 
are a class of nouns, and receive in general the same 
decided stress. 

Secondly, all other parts of speech, viz. articles, pro- 
nouns, auxiliary verbs, adverbs, prepositions and con- 
junctions, are used only in subordination to those of the 
first class, and are connected with them in utterance. 

Those of the first class receive a strong accent on one 
syllable, and it is upon this syllable only that a decided 
effort of the mind and voice is made. 

Those of the second class are unaccented, (as they 
generally have but one syllable,) and are connected in 
utterance with the others. 

No strong and voluntary effort is made on them. Being 
grouped with the others, they are uttered with precisely the 
same weak and unconscious exertion as is made on the unac- 
cented syllables of polysyllabic words. If indeed an adverb, 
or other word of this class, is itself a polysyllabic word, one of 
its syllables receives an accent ; but even in this case, the ac- 
cent is generally less strong, and the word likewise requires to 
be closely connected with one of the first class. The only ex- 
ceptions are, in cases of emphasis or of separation by interven- 
ing words. 

The forcible efforts made in speaking, are thus confined prin- 
cipally to nouns, adjectives and verbs. With all other words, 
(if they are not emphatic,) no effort is necessary, except to ar- 
ticulate them distinctly. 



ACCENT OF CONSTRUCTION. 97 

It deserves also to be again mentioned, that even on the most 
important words, all voluntary effort is restricted to the accent- 
ed syllable of each. (Vide the preceding chapter.) 

We thus find a wonderful provision of nature for diminishing 
the labor necessary for speech. A strong action of the vocal 
muscles alternates regularly with a weaker one ; and the alter- 
nation is between fatiguing excitement and effort, and compar- 
ative rest. 

Take for example the following sentence. 

11 True eloquence must exist in the man, in the subject, and 
in the occasion." 

When divided according to the natural grouping of words in 
deliberate speaking, and also according to what in the second 
part we shall term the phrases in delivery, it will stand thus : 

True eloquence 

must exist in the man, 
in the subject, 
and in the occasion. 

We thus perceive that although there are twenty syllables in 
the sentence, but six of them are accented, while it is upon 
these alone that strong vocal efforts are made. 

One more example will be sufficient for our present purpose, 
as most of our extracts for practice will hereafter be divided. 
We remarked above, that adverbs and other dependent words 
are naturally connected with more important words, and that 
their accent, when they have one, is weaker. Yet when deliv- 
ery is slow and deliberately emphatic, the principle, though it 
still holds true, is less observable. In the following example, 
we shall not attempt to exhibit this slight distinction. 

"The injustice of England has driven us to arms; and 
blinded to her own interest for our good, she has obstinately 
persisted, till independence is now within our grasp." 
9* 



98 GENERAL HABITS IN DELIVERY. 

Arranged according to the grouping and phrasing of earnest 
speaking, this will stand as follows : 

The in/wstice of England 

has driven us to arms ; 

and, blinded to her own interest for our good, 

she has obstinately persisted, 

till independence 

is now within our grasp. 

It must not be inferred from our remarks, that this part of de- 
livery is necessarily to be learned by inspecting a passage 
which we are preparing to speak, and dividing the words into 
two classes according to their grammatical nature. In practice, 
the subject is attended with no difficulty. The act of group- 
ing being a natural one, is readily made habitual by efforts to 
speak deliberately and with natural ease. We shall proceed to 
explain its connection with audibility and the easy play of the 
breath in speaking. It will also be seen how the principle re- 
moves all the difficulty that has formerly been felt in deter- 
mining where to make pauses, when, as so often happens, they 
are required for the sake of taking breath, and in situations 
where there is no mark of punctuation. 

In the preceding chapter, the remarkable fact has been 
stated, that provided the articulation is reasonably per- 
fect, and the key of the voice is sustained, the unac- 
cented syllables of polysyllabic words will be heard by 
the largest audiences, provided the speaker makes suffi- 
cient effort to render the accented ones audible. The 
same is true of groups of words. Even when these are 
rendered very long by strong emphasis, the same pro- 
vision is made by nature. 

From ignorance of this fact, speakers sometimes fatigue 
themselves unnecessarily. In the case of those who contract 



ACCENT OF CONSTRUCTION. 99 

a disease of the throat or lungs from the mere act of speaking, 
the immediate cause is liable to be some unnecessary exertion, 
or the habit of not taking breath with that frequency which 
the grouping of the words permits. 

In strong delivery before a large audience, a natural and easy 
speaker will sometimes take breath before every group. This 
taking breath is more or less unconscious on his part, and not 
readily perceptible to spectators; but if from bad habits he 
omits this natural act, he will either be feeble and inexpressive, 
or will speak with great and painful labor. 

In rapid utterance, breath is not taken so often, but only at 
the end of phrases of a sentence, instead of between the groups 
of words. Yet even in this case, the issuing flow of the breath 
is momentarily checked after each group, and a new impulse 
given to it upon the succeeding one. Unless this be done, we 
cannot even individualize words by accent, or exhibit any nat- 
ural speech. Persons who are constitutionally deficient in phys- 
ical strength or animation, or who are in feeble health, must 
pay careful attention to free respiration in speaking. By cul- 
tivating a habit of taking breath deeply and frequently, and at 
the same time checking the issue of it after every group, the 
chest will be kept always full, and the feeblest voice will fill the 
largest room. 

It is between the groups of words, that rhetorical and 
emphatic pauses occur ; and it will be found on trial, 
that pauses of the greatest length may be made after 
any group of words, (except between an adjective and 
substantive,) without injury to the sense of the sentence. 

It is important to notice, that pauses between the 
groups are not ordinarily for the sake of rest after the 
effort which has just been made, but in the way of pre- 
paration for the distinct and expressive utterance of the 
next group. 



100 GENERAL HABITS IN DELIVERY. 

It is solely by regulating the succession of the groups of 
words, that a speaker adapts his voice to the extent of his au- 
dience or the size of a room, in slowness. 

In the same way likewise, is a voice adapted to the echo of 
a room. 

Finally, a harmonious or a varied rhythm depends on the 
management of the groups. 

When we come, in the second part of our work, to treat of 
Emphasis, and of Rhetorical Groups and Phrases, we shall find 
that the groups of words actually uttered with one impulse of 
the voice, are frequently very long. Those of great length, 
however, receive an impulse of the voice on an emphatic word, 
which is proportioned to the length of the group, and which 
makes them as fluent and facile in enunciation as shorter ones. 

Before leaving this subject, a very important caution 
must be given, not to suffer the above or any subsequent 
directions to be so put in practice, as to interfere with 
the smooth and graceful flow of words in discourse. 

Those who practise articulation and other requisites of dis- 
tinct enunciation, are liable to acquire a broken and irregular 
flow of utterance. On the contrary, great care must always be 
exercised to give to the slowest speaking, and that which most 
abounds in rhetorical pauses, a tone of continuity , that carries 
the minds of the hearers constantly onwards. (Vide the con- 
clusion of the subsequent section, on Continued Emphasis.) 

DISTINCT SEPARATION OF SYLLABLES. 

Distinctness (as is indicated by the derivation of the word) 
is different from Articulation. 

When a speaker is indistinct in the general run of his 
delivery, his words and syllables are not sufficiently sep- 
arated from each other. One syllable, or word, or group, 
is not finished before the other is begun. 



SUSTAINED EXPRESSION. 101 

In very slow speaking, this complete separation is necessary, 
to keep the rate of delivery equable and easy. 

In most cases, a speaker will be sufficiently distinct to be in- 
telligible, if he keep the groups well separated from each oth- 
er; but in slow delivery, grace or beauty, and often pointed ex- 
pression, require that he separate also the words of the groups, 
and even to some extent the syllables of words from each other. 

EXAMPLE. 

/ 

Heaven and earth 
will wit-ness,\ 

/ 

if Rome must fall, 
/ 

THAT WE 

ARE IN-NO-CENT.\ 

Some of the faults of articulation which have been already 
mentioned, should in strict propriety be placed under this head. 
They are those in which vowels are omitted, and words short- 
ened by dropping them; e.g. hist'ry for history, cons' quence 
for consequence. 

SUSTAINED EXPRESSION. 

When first beginning to practise speaking, some experi- 
ence great difficulty in keeping the requisite expression uniform 
and consistent as long as is necessary. The voice is apt to flag 
after the utterance of a few sentences, or even after a few 
words. The speaker begins with natural animation and a suit- 
able expression, as also with a key and force adapted to the 
room, but soon loses this propriety of manner. When the 
voice flags, so likewise does the gesture, in respect to earnest- 
ness and significancy. 



102 GENERAL HABITS IN DELIVERY. 

Hence, practice in speaking should be at first on very 
short passages. 

It is best indeed to begin with the appropriate utterance of 
single words, and to proceed successively to groups, phrases, 
sentences, paragraphs, and entire discourses. It often happens, 
that one who has had no practice whatever, can speak a single 
word or group with propriety, but cannot follow it with another, 
without a falling off in the appropriate tone with which he began. 

It should be a rule, not to persevere in practising at 
any one time, longer than while the mind continues 
fresh and clear, and the perceptions of the ear remain 
unconfused. 

Longer continuance will be useful merely in strengthening 
the voice. When this is the principal object, two or three 
hours at a time may be spent with advantage. 

The first practice for learning to sustain the voice, 
should be with reference to keeping it uniformly adapt- 
ed to the size of a large room, or to the extent of ground 
occupied by an audience imagined to be present in the 
open air. This will be judged of by the ear, and will 
fatigue the mind but little. 

When after a few trials, considerable difficulty remains 
in sustaining the voice, the fault will probably in every 
case, be found to result from habits of not taking breath 
with sufficient fullness and frequency bet ween'the groups. 

When the voice is adequately sustained for a large room, or 
when in a small one a consistent elevation of delivery is main- 
tained, the chest is kept always full and heaved up. It never 
entirely relaxes, except at long pauses which occur in passing 
from one sentence or paragraph to another. 






EMPHATIC FORCE. 103 



CHAPTER VI. 

EMPHATIC FORCE. 

In the preceding chapters we have designedly omitted such 
general habits in delivery, as render reading or speaking pow- 
erful and intensely interesting. The present will be devoted 
to those which are necessary for force and expression. In the 
second part of the work, we shall treat briefly of the principles 
which render particular words emphatic ; while in the third we 
shall classify and describe the general styles into which all ex- 
pression may be divided. 

We are now to consider those mental and physical efforts 
which are common alike to all the modes of emphasis and en- 
forcement, and to all the varieties of expression. 

Before practising any of the examples furnished in this chap- 
ter, it will be well first to read over the remarks in its last sec- 
tion, on the Tone of Communicating Thought. 

Emphatic force is given to those parts of discourse 
which excite the mind of the speaker to peculiar earnest- 
ness, and cause him to make a special effort to awaken 
the same feelings in those whom he addresses. 

It may be thought that no one can be liable to experience 
difficulty in making the mental and physical exertion required 
for this purpose. Yet such is not the fact. In no part of delivery 
do unpractised speakers so much fail, as in this ; and irr no part 
do teachers of elocution find it so difficult to develope the capa- 
bilities of those whom they instruct. Indeed, it is found on trial 
that not only are students of elocution unable to give natural 
and expressive emphasis, so long as they have no command 
over the speaking voice, but even after this point has been mas- 
tered, the delivery will still remain unnatural in regard to em- 
phasis, unless especial attention be directed to the subject. 



104 GENERAL HABITS IN DELIVERY. 

* As continuous speech consists of a succession of repeated 
efforts on groups of words, it is at first most natural and easy to 
proceed with uniform regularity, and utter each group with the 
same force and with no variation in slowness. The strength of 
voice on all the accents is thus the same, while the pauses do not 
differ from one another in length, or in the modulation of the 
voice which precedes them. The proclamations of criers, and 
the enthusiastic harangues of men entirely destitute of educa- 
tion, afford examples of this sort of delivery. But even in the 
elocution of speakers of a far higher order, we often witness 
more or less approximation to this rude mode, whenever their 
energies are tasked to fill very large rooms. In proportion to 
the difficulty of making themselves heard, their emphatic words 
differ less from the others in tone, and the general sound of the 
voice is more monotonous. 

In reading, or in speaking written composition without hav- 
ing first committed it to memory, the difficulty of giving a per- 
petually varying force, is rendered still greater by the confine- 
ment of the eye to the unbroken uniformity of the written or 
printed lines. These tend to carry the mind and voice me- 
chanically along, and to cause all the words to be uttered with 
the same force. They likewise make it more difficult for the 
mind to stop in its onward progress, and exhibit the pauses that 
are so frequent and important in a natural delivery. The new 
mode adopted in this treatise, for exhibiting the necessary 
pauses, will be found of great service, inasmuch as it assists the 
mind as well as the eye. 

It follows from these facts, that in learning to empha- 
size with natural force, attention must first be given to 
pausing. 

Before the utterance of an emphatic expression, the 
mind must pause, in order to collect and concentrate its 
energies, preparatory to the more earnest effort about to 
be made. 



EMPHATIC FORCE. 105 

Sometimes the pause will occur immediately before the precise 
syllable upon which the emphatic force is to be given. This will 
happen when an emphatic single word is the first of a group, 
and is one which begins with an accented syllable. For it must- 
be remembered, that when the emphasis is on a single word, it 
is its accented syllabic only that receives the peculiar tone and 
force that mark the emphasis. But generally, the pause for 
collecting the requisite mental energy is made before some 
group, in the middle of which occurs the accented and emphatic 
syllable. 

In the same manner as a pause before emphasizing is 
required for the mind, so is it for the breath, and for col- 
lecting vocal energy in the organs of utterance. 

In the first stages of learning to speak, it continually happens 
that the speaker pauses and fully intends to give a strong em- 
phasis, but finds to his great surprise, that his efforts fail. His 
voice does not in fact vary at all, or instead of a stronger ex- 
pression, it even gives a weaker one. The writer recollects an 
instance of a man of a thoughtful and reflecting turn of mind, 
who devoted considerable time to preparing himself for deliver- 
ing a course of written lectures. He evidently took pains in 
regard to delivery, yet all his emphases were marked by a hesi- 
tating feebleness of utterance. Such difficulties result from a 
want of the habit of taking breath before emphasizing. 

The mental and vocal effort, then, by which emphasis is 
effected, is the following. 

Before attempting to utter the group of words which 
contains the emphatic word, a pause is made, breath is 
quickly taken, the mind concentrated, and the vocal or- 
gans made ready for a new effort. 

Emphatic words are generally accompanied also by some va- 
riety of the stroke in gesture. If the arm has been hanging at 
the side, it is during the pause that it is raised. 

10 



106 GENERAL HABITS IN DELIVERY. 

Yet even when the speaker fails in none of the requisites just 
described, it sometimes happens that he does not succeed in 
giving a natural and expressive tone of voice, and a truly sig- 
nificant gesture. His voice and gesture may be forcible, yet 
mechanical and unmeaning. The remedy for this is in the 
management of the mind. Speakers are at first liable to utter 
words without thinking of their meaning. Or if they fix 
their attention on the meaning, they may still forget that all 
speaking supposes an audience. Emphasis especially, requires 
to be directed by its tone and gesture, towards the hearers, and 
if none are present to be addressed, they must be imagined. 
To succeed perfectly, then, in emphasizing — 

The effort of the mind must be to enforce thoughts 
and not mere words. The emphatic force must also be 
earnestly directed towards an audience. 

It will be useful to mention, that this vigorous effort to set 
forth and enforce ideas rather than words, is at first inconsist- 
ent with that more leisurely state of mind required for articula- 
tion, pronunciation, and in general, the more mechanical parts 
of delivery. When first studying emphasis and expression, it is 
best to neglect every other quality of speaking. After a time, 
skill and self-command will be acquired, by which such qualities 
as at first require different and opposite states of mind, can be 
exhibited in natural conjunction. 

Since emphasis results from earnestness, it follows that 
not only are emphatic syllables uttered with more ener- 
gy, but the voice dwells upon them longer than on those 
of less importance. Emphatic words take up more time 
in utterance. 

In fact, as will be explained in the section on rhythm, an 
emphatic word occupies just twice as much time in its delivery, 
(including the pauses,) as an unemphatic one of the same num- 
ber of syllables. 



EMPHATIC FORCE. 107 

The pause which precedes an effort to emphasize, is 
not the only one which is made. Another occurs after 
the utterance of the group. During its continuance, the 
mind of the speaker continues in the same excited state 
which produced the earnest and significant tone. The 
countenance keeps the same expression. The eye and 
the hand continue their appeal to the audience. Thus 
the hearers also, are made to feel and reflect upon the 
full importance of what has just been urged. 

This subsequent pause is necessary likewise for the breath 
and voice. As the mind remains stationary for a moment, and 
then prepares for the next passage, so the vocal organs remain 
in statu quo. The attitude and gesture remaining fixed, the 
breath likewise is not suffered wholly to escape. Additional 
breath is then taken, and the vocal organs prepare themselves 
for the effort required by the next group. 

It should be carefully noticed, that during the pause that fol- 
lows an emphasis, the mind does not really relax or rest, but 
continues excited and vivid. So likewise the body continues in 
a state of tension and energy. The chest is not suffered to 
flatten, and no time is allowed for a slow and calm mode of 
breathing. The very act of breathing is indeed suspended for 
a time. In this way no flagging of the voice, or relaxation of the 
exciting interest of the delivery takes place, even in rhetorical 
pauses of extreme length. Though forcible delivery ought to 
be easy, yet it admits of no actual rest, either of mind or body, 
except at the end of a paragraph. 

CONTINUED EMPHASIS. 

Emphatic force is still to be considered in reference to the 
number of words which receive it during a single impulse of the 
voice. 



108 GENERAL HABITS IN DELIVERY. 

In regard to this point, writers distinguish emphasis into two 
kinds, according as it is given on a single word, or is equally 
distributed over several. The latter they call continued empha- 
sis, or an emphatic phrase. This we shall first consider, as it is 
of more common occurrence than the other, and produces more 
important effects. It has also been too much neglected by 
most writers. 

The mental and physical efforts by which this is executed, 
are the same as have just been described in reference to em- 
phasis in general. It was stated above, that emphatic earnest- 
ness renders the utterance of a word slow. 

Hence when this earnestness is continued on several 
words in succession, the entire emphatic passage is given 
with strikingly prolonged as well as forcible tones. 

The continuity of the forcible tone must be kept uniform, and 
if more words are to receive it than can be uttered at a single 
breath, the lungs must be filled quickly, as is done by a flute 
player, so that the connexion of the words shall not be inter- 
rupted. 

Although the consideration of the theory of emphasis is re- 
served for the second part of this treatise, yet it will be well to 
mention under the present head, the following general facts. 

Most of the sentences in a discourse are introduced on 
account of the importance of one of its sections only. 

The remaining sections serve principally the purpose, of con- 
necting the important one with the other sections of the dis- 
course. 

This most important section must always receive, in 
some degree at least, that slower and more earnest effort 
of the voice, which is called continued emphasis. 

It is upon this part of the sentence, that the countenance and 
attitude are most earnest. So likewise, if gestures are made at 



EMPHATIC FORCE. 109 

all, they will be made as accompaniments to the continued em- 
phasis of the voice. 

When the style of a passage is in sentences of the 
very simplest construction, the emphatic portions will 
generally be the whole or a part of each predicate. 

EXAMPLES FOR PRACTICE. 

(Suhj.) A great part of the mission of every man on earth, 
(Pred.) is to contend with evil in some of its forms. 

(Subj.) The great end of society 

(Pred.) is to give free scope to the exertions of all. 

(Subj.) Persecution for opinion 

(Pred.) is the basest instrument of despotism. 

(Subj.) The capacity for acquiring truth 

(Pred.) is one of the noblest attributes of our nature. 

(Subj.) The eulogium pronounced on the character 
of the state of South Carolina, 
for her revolutionary and other merits, 

(Pred.) meets my hearty concurrence. 

(Subj.) The citizens of America [erties. 

(Pred.) celebrate that day which gave birth to their lib- 
(Subj.) The recollection of this event 

replete with consequences so beneficial to mankind, 
(Pred.) swells every heart with joy 

and Jills every tongue with praise. 

(Subj.) When public bodies 

(Pred.) are to be addressed on momentous occasions, — 

Yet in a well constructed style, it perhaps happens 
quite as often that the subject is the emphatic portion of 
the sentence. E. g. 

10* 



110 GENERAL HABITS IN DELIVERY. 

(Subj.) When public bodies 

(Pred.) are to be addressed on momentous occasions, 

(Subj.) when great interests 

{Pred.) are at stake, 

(Sub}.) and strong passions 

(Pred.) excited, &c. &c. 

It often happens also, that the subject and predicate 
are both emphatic. This will be seen in continuing the 
last example still farther. 

(Subj.) nothing (Pred.) is valuable in speech, 

(Contin. Pred.) farther 
(Subj. merely the ,-, , i 

pron. it) tnan Jt 1S connected 
(Remain. Pred.) with high intellectual and moral endowments. 

In most of the following example the emphasis falls 

on the subjects. 

\ 
(Subj.) Clearness, force, and earnestness, 

(Pred.) are the qualities that produce conviction. 

(Subj.) Labor and learning 

(Pred.) may toil for it, 

(Pred.— subj. is pron. they) but they will toil in vain. 

(Subj.) Words and phrases 

(Pred.) may be marshalled in every way, 

(Subj. is pron. they) but they cannot compass it. 

(Subj.) Affected passion, 

( Subj.) intense expression, 

(Subj.) the pomp of declamation, 

(Subj. and Pred.) all may aspire after it — 

(Subj. they) they cannot reach it. 

(Subj.) Then patriotism 

(Pred.) is eloquent ; 



EMPHATIC FORCE. Ill 



(Subj.) 


then self-devotion 


(Pred.) 


is eloquent. 

\ 
The clear conception, 

\ t 
outrunning the deductions of logic, 


(Subj.) 




(Subj.) 


the high purpose, 


(Subj.) 


\ 
the^rm resolve, 


(Subj.) 


\ 
the dauntless spirit, 

\ 
speaking on the tongue, 






\ 
beaming from the eye, 




\ 

informing every feature, 

\ 
and urging the whole man onward, 






right onward to his object — 


(Subj.) 


this, THIS 


(Pred.) 


is eloquence. 


Further 


examples of emphatic subject. 


(Subj.) 


Has the stability of the government, 




or that of the country, 


(Pred.) 


been weakened 1 


(Subj.) 


\ 
The very existence of the nation itself 


(Pred.) 


is endangered. 

\ 
A great and solemn crisis 


(Subj.) 


(Pred.) 


is evidently approaching. 



(Subj.) In the mean time these paroxysms of his 

(Pred.) decline ;\ [moral nature, 



112 GENERAL HABITS IN DELIVERY. 

\ 

(Subj.) and a fearful apathy, 

the harbinger of spiritual death, 
(Pred.) comes on. 

\ 

(Subj. and Pred.) His resolution fails ; 

(Subj.) and his mental energy, and his vigorous en- 

\ [terprise ; 
(Subj.) and nervous irritation and depression 

(Pred.) ensue. 

(Subj.) All that was once lovely and of good report 

(Pred.) retires. 

Sometimes both subject and predicate are equally em- 
phatic, and the whole sentence is spoken with continued 
emphasis. A long pause however, must generally inter- 
vene between the two members. 
(Subj.) Our chains (Pred.) are forged. 

(Subj.) Their clanking (Pred.) may be heard on the 

[plains of Boston. 
(Subj.) The war (Pred.) is inevitable; 

(Subj. and Pred.) and LET IT COME ! / 

[matter. 
(Pred.) It is in vain Sir, (Subj.) to extenuate the 

(Subj.) The war (Pred.) is actually begun ! 

(Subj.) The next gale that sweeps from the north 

(Pred.) may bring to our ears 

the clash of resounding arms. 
Let not the student suppose that he is expected to carry along 
in his mind, a grammatical analysis of sentences during the 
glowing excitement of eloquent reading or speaking. Far from 
it. He is scarcely to think of words, much less of grammar. 
For it is with ideas, images and feelings, that he is to be in- 



B M I' II A T I C FORCE. 



113 



tensely occupied. Still a few such analyses as the above will 
be found of great, advantage. They divest the subject of much 
of the strangeness which it presents in many books of elocution, 
and form those appropriate habits by which a reader emphasizes 
with instantaneous correctness, the moment his eye glances on 
a passage. Unless a person can emphasize at sight, and with- 
out the necessity of previously studying a passage, he has little 
practical or even useful knowledge either of reading or speaking. 
Indeed, emphasis that is the result of ingenious study, is gen- 
erally wrong. It corresponds neither with the grammar, the 
logic, nor the general scope of the composition. The " new 
readings" by which actors so often aim at notoriety, are apt to 
be as incorrect as they are far-fetched. 

Every reader however, instinctively makes some sort of analy- 
sis of passages, as he proceeds, and in the following examples 
we shall present one of that extremely simple kind, which cor- 
responds with the most common action of a reader's mind. In 
the second part of the work, the subject will be resumed. 

Without then going into a grammatical, or a logical 
analysis, the mind of a reader generally notices that the 
most important, and consequently the emphatic portion 
of a sentence, is either at the beginning, in the middle, 
or at the end. The same habit is followed likewise, in 
regard to sections or phrases of a sentence. 

We should have preferred to present the following example 
in the ordinary form of continuous discourse, but the page 
would have become confused. As we give it, each line is not 
always a strict rhetorical phrase. 

EXAMPLE FOR PRACTICE. 

Emphasis at be- ( Gentlemen, we are at the point of a century 
ginning. | j rom t j ie hirth j Washington ; 

Emphasis at be- \ and what a century 
ginning. \ it hag been , 



114 



GENERAL HABITS IN DELIVERY. 



Emphasis at end. 



f During its course, 
Emphasis at end.<{ the human mind has seemed to proceed 
[with a sort of geometric velocity, 
'accomplishing more 

for human intelligence and human freedom, 

than had been done 
An Jives or tens of centuries preceding. 

{Washington 
stands at the commencement 
of a new era, 
Cnemphatic. \ as well as at the head of a new world. 

\ 
It is the spirit of human freedom, 

\ 

the new elevation of individual man 

Emphasis at be- .in his moral, social and political character, 

leading the whole long train 

of other improvements, 

which has most remarkably distinguished 

the era of Washington. 

Our existing institutions, 

raised on these foundations, 

have conferred on us 

^almost unmixed happiness. 

f There are two principles, gentlemen, 

\ . 
Emphatic clause \ strictly and purely American, 
in the middle. *j which are now 

[likely to overrun the civilized world, 
rlndeed, they seem 

Emphatic clause! \ 

in the middle. | the necessary result 

^of the progress of civilization and knowledge 



ginning. 



Emphatic clause 
in middle and< 
at end. 



We wish to direct the attention of the student to the fact, 
that in the latter part of the last example, some of the emphatic 



KMPHATIC FORCE. 



11. 



clauses occurring in the middle of a sentence are somewhat 
parenthetical in their structure. It is singular that for upwards 
of a hundred years it should have been the standing rule in 
books, that parentheses or parenthetical clauses universally re- 
quire to be read in "a quicker and weaker tone of voice," 
while it is commonly directed likewise to read them on a lower 
pitch. So far are these rules from being true universally, that 
such clauses are as often emphatic as any others, and as often 
require to be read on a higher as on a lower key. Extempora- 
neous style and that of conversation, frequently abound in pa- 
rentheses, which are delivered with more instead of less ear- 
nestness, from the fact that the speaker is afraid of forgetting 
the ideas that they present, or puts them in by way of caution 
to prevent misapprehension. In written styles likewise, parti- 
cipial clauses, coming in parenthetically, contribute to conden- 
sation, and are often strongly emphatic. 

At the end of the section on Grouping or the Accent 
of Construction, we cautioned against injuring the tone 
of continuity which is required in a discourse. The 
same caution is needed in reference to the above exam- 
ples. If it be asked, upon what does the tone of con- 
tinuity depend? — we answer, upon that sustained ear- 
nestness of tone, at the end of groups, which proceeds 
from the suspension of the respiration, and the fixed at- 
titude, look, and appeal of the hand, which we have de- 
scribed above as accompanying rhetorical pauses. 

EMPHATIC FORCE ON SINGLE W r ORDS. 

A strong and exclusive emphasis on a single word, is found 
quite difficult in early practice. 

The faults which result from not being accustomed to the 
strong mental and physical effort required for such emphasis, 



116 



GENERAL HABITS IN DELIVERY 



are, first, want of force; and secondly, want of complete and 
unreserved earnestness of expression. 

1. In order to ensure sufficient force, breath must be 
taken—the mind must be made ready — and then the 
emphatic word must be sent forth, with a more fearless 
energy than is natural to timid, and unpractised speakers. 

The force and energy of the voice on an emphatic word, 
must be sufficient to produce a strong and frequently a striking 
and even startling effect on the auditors. 

2. Unpractised speakers often emphasize with suffi- 
cient loudness and force, and yet do not seem to be re- 
ally in earnest. 

To use a familiar expression, they do not appear to be whole- 
souled in their earnestness. This fault proceeds from three 
causes. 

First, the mind, as it were, partly holds back, and 
does not completely surrender itself up to the required 
expression. 

There should be for the time a total abandonment, and espe- 
cially a fearless indifference as to personal peculiarities of man- 
ner. These are seldom of serious importance, so long as they 
do not hinder the expression of earnestness. Apprehensiveness 
and self-criticism will surely prevent perfect heartiness and sin- 
cerity of emphatic expression. 

Secondly, the more earnest the emphasis, the more 
heartily must the breath be sent out. 

In the most powerfully emphatic utterance, this is done so 
heartily, that the lungs seem at first to be completely emptied. 
Such is not however the fact, although the breath does indeed 
issue violently during the utterance of the accented syllable of 
the emphatic word. 



EMPHATIC FORCE. 117 

Thirdly, when the emphasis fails of sufficient earnest- 
ness, the accompanying stroke of gesture is not general- 
ly made with a sufficient degree of muscular energy. 

The energy of the arm must be, as it were, spasmodic; while 
immediately after the stroke, the muscles of the arm must be 
kept tense, and not suffered to relax. 

We have dwelt at some length on the general effort required 
for emphasis, on account of the importance of the subject. In 
nothing are orators of great power distinguished from inferior 
and yet equally natural speakers, more than in the boldness, 
energy and heartiness of their emphasis. Indeed it is solely 
by means of emphasis, that the very highest effects of oratory 
are produced. 

EXAMPLE FOR PRACTICE. 

Extract from the supposed speech of John Adams, on the 
vote for independence. 

/ 
Sink 

\ 
or swim, 

/ 

LIVE 

\ 



or DIE 



/ 

SURVIVE 

\/ 
or PERISH, 

I 

\ 

give my hand and my heart 

to this vote. 

\ 
If we FAIL, 

11 



118 GENERAL HABITS IN DELIVERY. 

/ 

it can be no worse for us. 

\ 
But we shall not fail. 

\ 
The cause 

/ 

will raise up armies ; 

\ 
the cause will create navies. 

\ 
The people, 

\ 

the people, 

/ 
if we are true to them, 

/ 
will carry us, 

\ 
and will carry themselves, 

\ 
gloriously through this struggle. \ 

\ 
Send this declaration to the public halls ; 

\ 
proclaim it there ; 

/ 
let them hear it, 

\ 
who heard the first roar of the enemy's cannon ; 

/ 
let them see it, 

/ / 

who saw their brothers and their sons 

\ 

fall on the field of Bunker Hill, 

/ \ 

and in the streets of Lexington and Concord, 

\ 
and the very walls 

will cry out in its support. 



CONTRASTS OF FORCE 



119 



CONTRASTS OF FORCE. 

In nothing is the progress of those who are learning to speak 
more slow, than in acquiring the power of perpetually varying 
the force of their delivery. The difficulty is increased by the 
unavoidable necessity of confining their practice principally to 
extracts, instead of being accustomed to speak discourses which 
occupy towards half an hour, at least, in their delivery. 

The necessary amount of force and slowness required for 
large audiences, is another serious obstacle to giving varied de- 
grees of force on different passages. There is no need, how- 
ever, of discouragement in reference to this difficulty. Those 
who have been thoroughly practised in giving an unreserved 
and yet natural and agreeable energy on the most exciting pas- 
sages of a long discourse, will in the end find no difficulty in 
speaking, when necessary, with moderation and calmness. 

The chief reason why unpractised speakers are apt to fail of 
occasionally moderating their energy, is that of not having at- 
tained complete self-possession. Yet the only effectual mode 
of acquiring this indispensable habit of mind, is by being ac- 
customed to speak with that force and power which results 
from an intentional effort to control an audience. It must be 
remembered that although there can be no eloquence without 
intense excitement, yet that mere excitement is not of itself 
sufficient to produce a good delivery. Excitement without self- 
control, is indeed little different from insanity. If the hearers 
perceive that a speaker is borne on by the ardor of his feelings 
to such an extent that he has no power of checking himself, 
they simply commiserate him. Nothing is easier than to be- 
come excited in speaking ; but to encourage our own strong 
impulses, and then intentionally and with judgment make use 
of them for the sake of accomplishing a useful end — this is the 
very definition of oratory. 

For such reasons, a practical delivery can never be learned by 
the process of speaking in those circumstances only which are ab- 



120 



GENERAL HABITS IN DELIVERY. 



solutely favorable to the speaker — such as when he speaks what 
is in the highest degree interesting to himself, and has every 
assistance that can be afforded by the audience, the time, the 
place and the occasion. Practical speaking consequently, as 
was stated in the introduction, can only be learned by means 
of such task-work as compels the speaker to rely mainly on his 
own energies. 

It is obvious that no rules can be given as to when 
we must moderate our delivery, and likewise that none, 
are needed. 

It will however be useful to furnish a single extract for prac- 
tice. 

EXAMPLE FOR PRACTICE. 

But youth 



\ 

Earnest. •{ is not my only crime. 



\ 



Significant 
yet moder- - 
ate. 



Tone of in- 
difference. 



Moderation, 
approach- 
ing to care- 



Ll have been accused of acting a theatrical part ! 

/ 
A theatrical part 

/ 

may either imply some peculiarities of gesture^ 

or a dissimulation of my real sentiments, 

and the adoption of the opinions and language 

\ 
of another man. 

/ 
In the first sense, 

\ 
the charge is too trifling to be confuted; 

/ _ 
and deserves only to be mentioned 

\ 
that it may be despised. 

/ 
I am at liberty — like every other man — 

\ 
to use my own language: 



CONTRASTS OF FORCE 



121 



Concession. J an( j t j 10U gh I may, perhaps, have some ambition 



/ 
yet to please this gentleman, 



/ 



I shall not lay myself under any restraint, 

/ 
or very solicitously 

/ . \ 

copy his diction or his mien ; 

/ 
however matured by age 

\ 

or modelled by experience. 

If any man 

shall, by charging me with theatrical behavior, 

imply 

\/ 
that I utter any sentiments but my own, 

\ 
I shall treat him as a calumniator 



/ 



\ 



Threatening. 



\ 
and a villain : 

nor shall any protection 

shelter him from the treatment 

\ 
L which he deserves. 

. / 
I shall, on such an occasion, 

\ 
without scruple, 

\/ 
trample upon all those forms / 

[selves, 
with which wealth and dignity intrench them- 

\/ 
nor shall any thing but age 

\ 
..restrain my resentment : 
11* 



Lower key & 
loud, 



122 GENERAL HABITS IN DELIVERY. 

age, 

/ 
which always brings with it 

\ m 
but sarcas- i one privilege — 
tic. N/ x/ 

that of being insolent and supercilious 

\ 
without punishment. 



DEEP EARNESTNESS OF TONE. 

Familiar earnestness, such as we hear in conversation, tends 
to make the voice run on a high key, and with more or less of 
loudness or of shrillness. Coarse earnestness causes it to be 
noisy, and deficient in suavity of tone. 

On the other hand, the earnestness of intense thought and 
deep emotion, excites a peculiar effort of the breast, which 
causes such emphatic words as are naturally uttered in lower 
notes, to be strengthened in their enunciation. It may be given 
as a general rule, that deep emotion sinks the key of emphatic 
words, while familiar excitement raises it. But when earnest- 
ness is expressed on a relatively lower pitch, a vigorous effort must 
be made to strengthen the utterance, or it will sound either faint 
or dull. There is no danger of undignified loudness when we 
exert the utmost energies of the voice on low notes. It is only 
by strength on high notes that a noisy loudness is ever produced. 

This style of earnestness causes the voice to become 
deep, grave, and broad. The expression which it con- 
veys is hearty, and seems (as persons sa}^ whole-souled. 

Although this tone is most strikingly exhibited on the 
lower notes, it will yet be manifest throughout the entire 
range of the voice. The higher notes will be less shrill 
and familiar. 



DEEP EARNESTNESS. 123 

Those who are not accustomed to making accurate distinc- 
tions in reference to such points, are apt to think the voice 
considerably lowered in pitch. Though it does indeed, often 
range somewhat lower, yet it appears to many to be more so 
than it really is. 

It is of great importance to cultivate this quality of delivery, 
and the tone may readily be acquired by attending to the phys- 
ical effort by which it is produced. 

To gain it, we must practice expelling the breath with 
the most exhausting heartiness, while we make at the 
same time a strong and even convulsive effort at the 
very bottom of the breast, and indeed, apparently at the 
pit of the stomach. 

It is this natural effort which gives rise to various forms of 
language, which are used to express earnestness, such as that 
of Burke, in a previous extract, " from the bottom of my heart, 
I thank you." The very expression " deep emotion," has the 
same origin, and we might mention numerous others. 

Those who endeavor to become eloquent by mere imitation of 
some celebrated model — an actor for instance — often attempt 
to gain this quality by altering their voice in an unnatural man- 
ner. Such a process never produces any thing but mouthing. 
To succeed in imitating another in this excellence, it is neces- 
sary to watch the sort of effort that he makes. Let the same 
effort of mind and body be exerted with an extreme degree of 
energy, and the voice will be changed from the familiar tone of 
conversation to the one under consideration. To avoid mouth- 
ing, we must be sure to exert sufficient energy. All mouthing 
and affectation imply weakness of feeling and effort. 

The term orotund, invented by Dr. Rush, seems to refer to 
this quality, when used in connexion with the pure tone. 

Though every cultivated voice will exhibit this depth and full- 
ness of tone in a considerable degree, and that too, indepen- 



124 



GENERAL HABITS IN DELIVERY 



dently of the character of the composition delivered, yet it will be 
well to furnish a single extract for practising it, in this part of 
the course. No better example indeed, is needed, than the ex- 
tract furnished in the second chapter, on p. 53 ; and the earnest 
delivery of that passage will have already cultivated the present 
quality of voice. The passage which we now furnish is from 
the same speech, and is selected with especial reference to the 
fact, that its appropriate delivery requires the voice sometimes 
to rise very high, as well as to descend very low. 



EXAMPLE FOR PRACTICE. 



(Middle key) 

(Higher) 

(Lower) 

(Low and rising) 



/ 

But whatever may be our fate, 

be assured, 

be assured, 

\ 
that this declaration will stand. 

/ 
It may cost treasure, 

\ 
and it may cost blood; 

\ 
but it will stand. 



/ 



\ 



(Descending) 
(Middle hey) 

(Rising) 
(High and full) 



and will richly compensate for both. 

/ 
Through the thick gloom of the present 

\ 
T see the brightness of the future, 

/ 
as the sun in heaven. \ 

\ 

We shall make this a glorious, 



an immortal day.\ 



/ 



(Middle key) When we are in our graves, 






DEEP EARNESTNESS 



125 



our children 



\ 
will honor it. 



\ 



(Rising) 



(Middle key) 



(Rising) 



They will celebrate it with thanksgiving, 

\ 
with festivity, 

\ 
with bonfires, and illuminations. 

/ 
On its annual return, 

\ 
they will shed tears, 

\ 

COptOUS, 



gushing tears, 



/ 



?jo£ of subjection and slavery, 



/ 
not of agony and distress, 

\ 

(H^/i and full) but of exultation, 

\ 
of gratitude, 

\ 

and of joy. 

/ 

(Low and strong) Sir, before God, 



(Rising) 



(Rising) 



(Descending) 



\ 

I believe the hour is come. 

/ 
My judgment approves this measure, 

\ 
ana* my whole heart is in it. 

\ 
All that I have, 

\ 

and all that lam, 

\ . . y 

and a// Mat /hope in this life, 

\ 
I am now ready here to stake upon it ; 



126 GENERAL HABITS IN DELIVERY. 

/ \ 

(Low and full) and I leave off as I begun, 

/ \ 

that, live or die, 

/ / 

(Rising) survive or perish, 

/ 

(Middle and loud) I am for the declaration. \ 

/ 
(High) It is my living sentiment \ 

[dying sentiment ; 

(Descending) and, by the blessing of God, it shall be my 

/ 
(Middle) independence now; 

(Low and strong) and independence forever. \ 

Webster. 

consciousness of being earnest and interesting. 

This seems the most suitable place for considering the ques- 
tion, how a speaker can judge for himself, whether he is suffi- 
ciently earnest and expressive. 

No one is willing to yield himself to such excitement as will 
appear extravagant, and the want of any guide for determining 
the degree of danger of being so, is perhaps the most common 
cause of dull delivery among those who really wish to speak well. 
Men of mature age and talents, and of sufficient experience, 
need no information on this point, as they have already learned 
to be guided by the manifestations of interest exhibited by an 
audience. Students of delivery however, often feel entirely at 
a loss to determine how much exertion to make, and how much 
excitement to indulge. Such have always appeared to be grati- 
fied with information like the following. 

First, always make a distinction between practice for 
disciplining the voice and gesture, and that for cultiva- 
ting propriety of manner. 



CONSCIOUSNESS OF EARNESTNESS. 127 

The former should be managed exactly like any other 
athletic exercise : its real object being to strengthen the 
muscles of voice, respiration and gesture ; and (as a 
general rule,) the more heartily and even violently these 
are exercised, the greater will be the benefit. 

It is important to enter upon such exercises with a willing, 
hearty, and cheerful spirit, just as in practising some active 
sport. They constitute some of the most useful forms of exer- 
cise in reference to health, and there is good reason for thinking 
them more directly preventive of the torturing malady, dyspep- 
sia, than any other gymnastic resource. A resort to the cele- 
brated vocal gymnasium in Philadelphia, conducted by Dr. 
Comstock, has been found by comparative trial, much more 
beneficial to health, than following the modes of exercise in one 
of the common gymnasia in the same city. No modes of exer- 
cise quicken the circulation of the blood, and promote a health- 
ful flow of spirits, more than vocal gymnastics. 

Secondly, when learning to judge of his own expres- 
siveness, let the student keep in mind, that his voice 
will generally sound more earnest and interesting to him- 
self than to his auditors. 

This is a demonstrable fact. Upon private enquiry it will be 
ascertained, that in most cases, when men of considerable force 
of character fail in animation as speakers, they themselves are 
afraid of being too much excited, and have hardly a suspicion 
that they are not animated enough. Even when candidly in- 
formed to the contrary, they find it difficult to believe the fact, 
and incline to think that the fault is in the hearers. It is not 
often from conceit or vanity that they make this mistake. 
They are conscious, and indeed know with certainty, that their 
internal feelings have been glowing, and that they have intended 
to express them. The error results from the habit of subjec- 



128 GENERAL HABITS IN DELIVERY. 

tively watching their own feelings, instead of objectively notic- 
ing what is the actual sound of their voices in the room. We 
first became acquainted with this fact, in the case of men of 
mature age, and not in that of the young and inexperienced. 

But when the ear has been well cultivated, and the speaker 
can accurately judge of the degree of loudness and distinctness 
required in a given situation, many who have a "delicate sensi- 
bility, still fail of being eloquent from fear of indulging in too 
much excitement. This is particularly the case with college 
students, inasmuch as severe study is more powerful than all 
other influences in superinducing delicacy and modesty of 
character. The Scotch call a professor of Latin, a professor of 
humanity — using this word in its Latin sense as equivalent to 
refinement. Bulwer, the novelist, has made an interesting ap- 
plication of the same fact, in regard to the influence of studious 
habits. 

Such being the difficulties in regard to the present subject, 
we have found the following additional information of great 
service. 

A speaker may know when his voice sounds truly- 
expressive, and when he himself seems to others to be 
really in earnest, by the fact of his being conscious of a 
convulsive or at least a hearty effort at the bottom of the 
breast — of a thrill throughout the entire bodily frame — 
and especially of a sensation of tingling or burning in 
the cheeks. 

This sensation in the cheeks will not manifest itself to the 
eyes of the spectators. The face will not flush. If any altera- 
tion takes place in its color, it will be rather that of a tendency 
to paleness. A decided flush would be disagreeable to the spec- 
tators, and embarrassing to the speaker. Indeed, a sufficient 
reason for even refusing to be eloquent, if flushing of face were 
necessary for it, would be, that mere theatrical ranters some- 



COMMUNICATING THOUGHT. 129 

times practise a trick of sending die blood into their faces, and 
thus pretending to be in a " torrent, tempest, and whirlwind of 
passion." 

In giving the above directions for judging of one's own exhi- 
bition of eloquent feeling, we have no reference to tragedy, nor 
exclusively to oratory that is highly impassioned. Careful ob- 
servation for many years, of audiences as well as speakers, in 
court rooms, and popular meetings of various sorts, and the op- 
portunity of testing the truth of our conclusions, by prevailing 
on young men to try them in the way of experiment, enable us 
to say without hesitation, that nothing short of the physical ex- 
citement just described, will produce an expression that will 
even be called simply animated, and that too, by the most intel- 
lectual audiences. 

Under the present head we have written strongly in favor of 
the healthfulness of vocal gymnastics. This will perhaps seem 
strange, in view of the fact that so many, especially clergymen, 
lose their health from speaking. Some considerations in ex- 
planation of this evil, will be found in the third part of this trea- 
tise, under the head of Impassioned Sentiment, while still fur- 
ther attention will be bestowed on the same subject, in the sec- 
tion in the Appendix, on the Health of Speakers. 

TONE OF COMMUNICATING THOUGHT. 

Before concluding this chapter, it is necessary to caution the 
student in respect to that management of the voice by which all 
speaking, whether calm or impassioned, is characterized by 
that tone which indicates an especial effort to inculcate or ex- 
plain our ideas to others. 

The most universal deficiency in the delivery of those who 
read or speak what they have previously written, is the absence 
of that appearance of a direct dealing with the minds of the au- 
dience, which commonly accompanies an extemporaneous ad- 
12 



130 GENERAL HABITS IN DELIVERY. 

dress. So considerable indeed, is the difference between these 
two modes of making addresses, that it is commonly supposed 
impossible to give to the former as much freshness of interest as 
is expected from the latter. 

In opposition however, to this opinion, let it be borne in mind, 
that but kxv speakers have hitherto fairly tried the experiment, 
of endeavoring so to manage the delivery of written composition, 
that their elocution shall be precisely the same as that of ex- 
temporaneous language. If the attempt be faithfully made, it 
will certainly be followed by a satisfactory degree of success. 
The address may not have an entire appearance of being extem- 
poraneous, but if not, the difference will be in the more method- 
ical style of the composition, rather than in the elocution. 

In managing elocution with reference to this important point, 
it will be necessary, indeed, to bring into use all the general 
habits of delivery which we have hitherto described, yet even 
these may not ensure this result. The primary object of all 
language is to express thought. Even in composition, which is 
principally addressed to the imagination and feelings — such as 
the most fanciful or sentimental poetry — there must always be 
a course of thought running through the whole. 

It is the want of the tone of communicating or ex- 
plaining thought, then, that constitutes the principal 
deficiency when the delivery of compositions formally 
preparedj is less interesting than the freshness of extem- 
poraneous address. 

In the present treatise, reading and recitation being design- 
edly omitted, and practical speaking being its exclusive sub- 
ject, there will be no liability to error in saying, that a speaker 
must always have, as a sort of foundation for his elocution, the 
tones of explanation. These may indeed be referred in general 
to the doctrines of inflexion and emphasis, but it is found by 
experience, that sometimes when such doctrines have been 



COMMUNICATING THOUGHT. 



131 



thoroughly mastered, there still remains a deficiency in respect 
to our present subject. A strictly scientific explanation of this 
deficiency can be given only by methods similar to those em- 
ployed in the great work of Dr. Rush. But as it would be in- 
consistent with the character and objects of the present volume, 
to enter into such minuteness and intricacy of detail, it is hoped 
that, as a substitute for such methods of treating the subject, the 
following directions will be found sufficiently available. 

As will be again mentioned in the third part of this work, a 
tone of strongly marked explanation causes the voice to proceed 
with a waving slide on each syllable, or at least on those which 
admit of long quantity. The more strongly marked emphases are 
also made by decided changes of pitch. The emphatic falling 
inflexions are either given with waves of the third, or of a still 
greater interval, or with a sudden change in key through the same 
distance, while the emphatic rising ones begin below the cur- 
rent pitch and slide up. Such descriptions however, will not be 
very intelligible, except to the readers of Dr. Rush's work, or 
the students of that of Prof. Day, or Dr. Comstock — or perhaps 
of some others which have lately been published, but have not 
yet fallen within our observation — and it will be better not to 
continue this sort of description further. In general then, — 

In the tones of explanation, the vanishing terminations 
of words and of accented syllables, are significantly pro- 
longed. The voice is managed with an especial effort 
at significant flexibility ', and has a waving or circumflex 
tone. 

A pointed expression is especially given to the ends 
of words, and particularly to the very last syllable that 
precedes a rhetorical pause. 

As a consequence of these efforts, the articulation be- 
comes peculiarly definite, and assists also in the signifi- 
cant expression. 



132 GENERAL HABITS IN DELIVERY. 

The fixed look of the eye, the sympathizing attitude, 
and the significant presentation of the open palm, like- 
wise contribute to the effect. So also do the free and 
yet steady stretching forward of the right arm, and the 
significant gesticulations, which, while it is thus ex- 
tended, are made by the wrist. 

Accompanying these instinctive movements of voice 
and gesture, the speaker feels in his mind a certain con- 
sciousness of a natural power of holding the attention of 
his fellow beings. He leads their understandings along, 
step by step and word by word, so as to make it impos- 
sible for them not to understand the ideas he presents to 
them in the precise way that he wishes. 

Especially does he feel confident, that the lively and 
yet deliberate flexibility, and significant precision, which 
he intentionally gives to his enunciation, cannot fail of 
accomplishing the same object. 

These efforts are such as we instinctively make in deliberate 
conversation, when we make a definite effort to prevent any pos- 
sible misapprehension of our meaning. It is therefore extremely 
easy to apply them in public speaking. Nothing more is neces- 
sary to enable even juvenile speakers to do so, than an intelli- 
gent conception of the object to be attained, and a sufficient 
degree of steadiness and collectedness of mind. 

On some occasions in public speaking, it is scarcely possible 
to employ them too strongly. On others, grace and propriety 
require more or less relaxation in reference to them, lest the de- 
livery become too precise and not sufficiently sentimental. But 
let it be again enjoined, that no composition that is addressed to 
others, either by reading or speaking, should be entirely desti- 
tute of the peculiar significance bestowed upon delivery by the 
efforts just described. 



RHYTHM AND CADENCE. 133 

The tones employed for clothing words with emphatic 
force and significance, must likewise be expressed with 
sharply defined outlines. When the voice skips up or 
down, the change must be bold and striking, and the 
tone prolonged with such steadiness as prevents all un- 
certainty and indefiniteness. Emphatic tones must 
have a clear and precise meaning, which no one can 
possibly mistake. 

Though instinct and impulse furnish us with the weapons of 
oratory, these alone are never sufficient. The higher powers of 
the speaker's mind must make an intentional use of them, as 
instruments for effect. It is neither blind impulse nor deliber- 
ate intention, that singly and by itself will produce a good de- 
livery. Much less will artifice or cunning. Nor can hypocrisy 
be made successfully effective. For the time at least, a really 
good speaker puts forth those efforts which characterize a sin- 
cere and earnest man. He may indeed be morally a hypocrite, 
but if he is so as a successful orator, he is a profound one. His 
hypocrisy is of that deep kind, that in moral actions makes use 
of his own good and honest impulses, for a selfish or a wicked 
end. The ancients said that an orator must be a good man. 
They probably meant that mere art or cunning could never by 
imitation of external acts, succeed in employing those weapons 
which are furnished only by sincere feeling. 



CHAPTER VII. 

RHYTHM AND CADENCE. 

The subjects to be considered in this chapter, need to be 
studied, not so much with reference to significance, force and 
earnestness of delivery, as to ease, beauty and agreeable effect. 
12* 



134 GENERAL HABITS IN DELIVERY. 

The qualities of delivery which we are now to describe, are in- 
deed equally natural with those which we have considered in 
previous chapters, and in this respect equally important ; for in 
nature, grace and strength, significance and agreeableness, can- 
not be wholly separated from each other. Yet in different cir- 
cumstances, one set of qualities may be more important than 
another, and hence require a more peculiar attention. 

The rhythm of prose is easier to practise than to explain ; 
and most treatises on elocution wholly omit the consideration 
of it. In other works, on the contrary, it has been made the 
foundation of all elocution. We shall employ our best efforts 
to give an intelligible and useful account of it, so far as this 
can be done by pursuing the same plan of treatment as in the 
rest of the work. A strictly scientific description can be given 
only by means of the notation of music. Even the doctrines 
of modern music, however, would not be sufficient to explain 
thoroughly the subject of the rhythm of speech. It would be 
necessary, in addition, to adopt the distinctions recognized by 
the ancients in their metrical systems. They considered the 
subject of far greater importance than the moderns, and carried 
their investigations of its principles to an extent that the latter 
find it difficult not only to adopt, but even to understand. In 
fact, much of the knowledge of rhythm which was familiar to 
the ancients, has been lost, and is not yet rediscovered. 

RHYTHM. 

Speech consists of a flowing series of words, express- 
ed by successive efforts of the vocal organs. These ef- 
forts are of two kinds — first, the primary and stronger 
ones, which take place upon accented syllables ; and 
secondly, the weaker ones upon the unaccented syllables. 

There is also a third and intermediate kind of effort, by 
which we utter syllables that have what is called secondary ac- 



RHYTHM. I3S 

cents. In practice, however, it is not in most cases necessary 
to pay particular attention to these. When suitable exertions 
are made on the primary accents, the secondary ones will not 
often fail of being correctly given. 

It is a law of our mental and physical organization, 
that any series of repeated efforts inclines to be made 
with uniform regularity. This regularity of succession 
is called rhythm. 

Its necessary existence in speech, as in other bodily efforts — 
to say nothing of it as a law of the mind — has been strangely 
overlooked by a considerable proportion of the writers on phys- 
iology, on language, and on elocution. It is interesting to 
watch the rhythmical succession of the strokes made by a 
blacksmith, carpenter, or other mechanic. The bells on a 
horse keep as correct time (i. e. rhythm) as is beat by the con- 
ductor of a concert or leader of a choir. If we watch any 
muscular labor or exercise whatever, we shall observe that those 
who are most skillful and can endure it the longest, are the 
most regular and uniform, or in other words, the most rhythmi- 
cal in their movements. Stammering consists in a total want 
of rhythm in speech, and is cured almost solely by means of 
rhythmical exercises. Stammerers find no more difficulty than 
others in singing, because music is distinguished by a rhythm 
so definite and invariable as to be instantly apprehended, and 
at the same time so strongly marked, as to lead the mind on- 
wards with uniform regularity. 

The rhythm of poetry is the same as that of music, 
and is determined by meter. That of prose is perpetu- 
ally changing, and proceeds according to no unvarying 
law. 

The latter differs from the former, in the same way as the 
varied motions of running and leaping in some active sport, do 



136 GENERAL HABITS IN DELIVERY. 

from the regulated and definite movements of dancing. In ut- 
tering prose, the rhythm must be regular for short passages at 
a time, but will perpetually vary as the discourse proceeds. 

A fluent, easy and varied rhythm is indispensable for 
a speaker, in reference to keeping up an animated deliv- 
ery, without incurring unreasonable fatigue. If his 
rhythm is bad, he must either discontinue his endeavor 
to be animated, or speedily become exhausted. 

It is of equal importance for the audience. They re- 
ceive a greater amount of quiet satisfaction from this, 
than from any other quality of good reading or speak- 
ing. Nothing else will prevent their becoming weary 
and restless under the very excitement of earnest ad- 
dress. . 

Rhythm is measured by time. When it is perfectly regular, 
the efforts which produce the accents succeed each other at 
equal intervals. In music and dancing, the observance of reg- 
ular time is carefully studied ; but it is not generally known, 
that if we watch a fluent and graceful extemporaneous speaker, 
we can readily beat time to his accents, during the continuance 
of short passages unbroken by a pause. It is the frequency 
and irregular occurrence of pauses in the delivery of prose, that 
prevents its rhythm from being as noticeable as in poetry. In 
the latter, however, still greater regularity results from the uni- 
form number of syllables. 

It is well known that the varieties of style in composition, 
differ from each other as much in their harmony, that is, in 
their rhythm, as in any other quality, and that this is an impor- 
tant subject of attention for those who wish to write well. 
Though this quality of style belongs rather to rhetoric than to 
elocution, yet as the more rhythmical the style, the easier is the 
exhibition of rhythm in delivery, we shall select our examples 



R 1IYT1IM OF WORDS. 1 37 

from passages thus distinguished. The finest examples of the 
rhythm of our tongue, may be found in our common translation 
of the Bible, and in the liturgy of the English Church ; but in 
a work like the present, it would be scarcely decorous to extract 
examples for practice from these sources. 

We shall distinguish the rhythm of prose into two kinds — 
that produced by the succession of the principal accents, and 
that resulting from the emphatic words of clauses. 

RHYTHM OF WORDS. 

It is exceedingly difficult to describe this to the eye. A sys- 
tem has indeed been invented for the purpose, which borrows 
from music a notation by means of bars and rests ; but students 
of elocution find it extremely perplexing, while it is at the same 
time of itself very deficient in accuracy. In reference to this 
subject, as well as in regard to emphasis and inflexion, we have 
concluded to use a notation of a very simple kind, and to aim 
at pointing out the variations of the voice to the eye, by merely 
a few general indications. The more minute discriminations 
must be learned from the vocal illustrations of the teacher, or 
be suggested by the natural instincts of the student. The dif- 
ficulty of describing prose rhythm is still further increased by 
the fact, that while in general secondary accents are to be neg- 
lected, yet when words or groups have a considerable number 
of syllables, such accents often become nearly of equal impor- 
tance with primary ones. In poetry, both are reckoned alike. 

In the following short examples, the words will be divided 
into the groups formed by the accents. Each group will be 
separated from its adjoining ones, although in some cases a sep- 
aration will take place between words so connected in gram- 
mar, that no absolute pause is strictly admissible between them. 
Even in such situations, however, there occurs what may be 
called an articulating pause — one in which there is a marked 



138 GENERAL HABITS IN DELIVERY. 

relaxation of vocal effort, closely approaching to the total ces- 
sation that takes place at a true pause. 

We must improve the present opportunity to complete our 
account — designedly left imperfect — of the grouping of words. 

Every principal accent gives a unity to a group, and a 
group can strictly have but one such accent. All groups 
are separated from each other by pauses. But these 
pauses are of two kinds, grammatical and articulating. 
The former have a total cessation of sound. The lat- 
ter have a relaxation of sound and a prolongation of 
time, which are closely similar in effect 

In reference to these pauses the law of rhythm is, 
that all groups are of the same length, during the con- 
tinuance of a single phrase of delivery. 

For an account of the principle which determines the length 
of such phrases, we must still refer to the second part of the 
present treatise. We shall presently show likewise that em- 
phatic words occupy just twice as much time in utterance as 
they would if unemphatic. 

For our first extract, in default of examples from the Bible 
or Liturgy, the following passage, which is considered one of 
the finest in McPherson's Ossian, will perhaps be as useful 
as any we can furnish. McPherson's rhythm is in general so 
spondaic and monotonous, that it soon palls upon the ear. We 
select one of his finest passages, yet, like the rest of the poem, 
it exhibits a species of meter. 

We shall endeavor to indicate the rhythm by the following 
mode of printing. The words will be divided into their groups 
of articulation, that is, into such as have but one primary ac- 
cent to each. This primary accent will be indicated by print- 
ing all the Utters of the accented syllable in italics. Secondary 
accents will be marked only when they are of importance in 
the rhythm ; but if so, will be indicated by printing merely the 






RHYTHM OF WORDS. 139 

vowel in an italic character. When a word, like ocean, has 
only a single vowel for its accented syllable, such vowel will 
often be printed with an italic capital, to distinguish it from a 
secondary accent. 

The whole is to be read smoothly, and with natural emphasis 
and inflexion. To prevent confusion, however, no marks of 
emphasis or inflexion will be given. It will be well sometimes 
to practise beating time to the reading A strictly accurate 
notation of any rhythm should indicate all the pauses. As the 
result of considerable experience in teaching, we have conclu- 
ded to indicate these by the mark (||) which is used for the cse- 
sural pause in poetry. 

, EXAMPLES FOR PRACTICE. 

Whence are thy beams, || O sun! 

thy everlasting light ? 

Thou contest forth, || in thy awful beauty, 

and the stars hide themselves in the sky ; 

the moon, \\ cold and pale, 

sinks || in the western wave. 

But thou thyself || movest alone; 

who || can be a companion || of thy course? 

The oaks of the mowntains || fall; 

the mountains themselves \\ decay with years ; 

the Ocean || shrinks and grows again; 

the moon herself \\ is lost in heaven; 

but thou || art forever the same. 



140 GENERAL HABITS IN DELIVERY. 

rejoicing || in the brightness of thy course. 
When the world || is dark with tempests, 
when thunder rolls, || and lightning jlies, 
thou lookest, || in thy beauty, || from the clouds, 
and laughest || at the storm. 

We next select a passage from Sir Walter Scott, which is a 
direct and especial imitation of the glowing rhythm employed by 
our translators, in their versions of the poetical parts of the 
Bible. Subsequent translators of the sacred volume have been 
grievously deficient in respect of an ear for a truly animated 
and yet unaffected English rhythm. Though this imitation by- 
Scott is striking, it is yet inferior to his models. Among mod- 
ern writers, perhaps Edmund Burke and Daniel Webster have 
the highest merit in respect of rhythm, as well as various other 
requisites of rhetorical splendor. The extracts from the speeches 
of the latter, that are commonly selected by young men, are 
among the finest in respect to rhythm, throughout the whole 
range of our literature. 

In the following extract we shall mark some of the inflexions 
which contribute to the tune of the passage. 

FROM A SERMON AFTER A VICTORY. 
/ 

Your garments |j zxedyed, 

\ 
but not || with the juice of the wine-press ; 

/ 
your swords || ^refilled with blood, 

\ 
but not with the blood, of goats or oHa/ubs ; 



the dust ofther/csert || on which ye stand, 






RHYTHM OF WORDS. 141 

/ 

is made fat || with gore, 

\ 

but not || with the blood of&w/Iocks; 

for the Lord || hath a sacrifice || in Bozrab, 
and a great slaughter || in the land ofldumea. 
Heaven || has been with you, 

and has ©roken the bow of the mighty; 

/ 
then, || let every man's heart, 

\ 
be as the heart of the valiant Maccaoeus; 

/ 
every man's hand, 

\ 
as the hand of the mighty Sampson ; 

\ 
Everyman's sword as that of6r&aeon, 

which turned not back || from the slaughter. 

\ 
For the oanner of Reformation 

is spread abroad on the moimtains || in its first loveliness, 

and the g-aJes || ofheU 

shall not \\ prevail against it. 

Having expressed so much admiration of the taste and judg- 
ment exhibited by the translators of our English Bible, it seems 
incumbent to extract a single passage by way of comparison — 
not expecting it however, to be used like the others, for purposes 
of common drilling and instruction. The following is not se_ 
lected in consequence of any search in the Scriptures for the 
finest passages in respect of rhythm. 

13 



142 GENERAL HABITS IN DELIVERY. 

FROM THE SONG OF MOSES. 

Thy right hand, \\ O Lord, 

is become glorious in power :\ 

Thy right hand, \\ O Lord, 

hath dash-ed in pieces the enemy. \ 
And in the greatness || of thine excellency, 

thon hast overthrown jj them that rose up against thee : \ 
thou sentest forth \\ thy wrath, 

which consumed them || as sfaoble. 
And wtth the blast of thy nostrils, 

the waters || were gathered to^eMerjX 

the floods stood upright as a heap, 

[sea. 
and the 6?ep*As || were congealed || intheAear^ of the 

The enemy said, 

\ \ 

I will pursne, || I will overta&e, 

I will divide the spoil ;\ 

my lust shall be satisfied upon them :\ 

I will draw my sword, 



my hand shall destroy them, 
lidst blow with thy 
the sea || covered them, 



/ 

Thou didst blow with thy wind, 



RHYTHM OF EMPHASIS. 143 

they sank || as lead 

in the mighty waters. 
Who || is h"ke unto thee \\ O Lord || among the gods ? \ 
Who || is h'ke thee; 

glorious || in Aoliness, 
fearivX || in praises, 

do'mg wonders ?\ 

RHYTHM OF EMPHATIC WORDS. 

This rhythm is formed by the succession of phrases, each of 
which has a unity given to it by a strongly emphatic word. The 
principle is precisely the same as that by which an accented 
syllable gives unity to a group. As in the rhythm of groups, 
the voice proceeds from one accented syllable to another, and 
these succeed each other at equal or nearly equal distances in 
time, so in the rhythm of phrases, the progress is from one 
strong emphasis to another, and with what seems to the ear 
like a uniformity of progress. 

These facts and principles are substantially the same in elo- 
cution as in music. The rhythm of polysyllabic words, and of 
groups of shorter ones, corresponds to that of the measures in 
music, as marked by their bars ; while the regulated succession 
of phrases, each having a single prominent emphasis, is the 
same as that of the strains of a tune. It is well known to sci- 
entific musicians, that generally each strain of a tune has an em- 
phatic portion, which, in the best style of performance, makes 
the strongest impression, while the succession of strains is 
marked by the emphasis in the middle, as well as by the cadences 
at the close of each. The same things are true of meters in 
poetry. 



144 GENERAL HABITS IN DELIVERY. 

A rhetorical style is as much distinguished by a striking 
rhythm of emphasis and phrase, as by any other characteristic. 
What is called poetical prose, generally has a rhythm so very 
striking and uniform, as to amount to a species of meter, and 
on this as well as other accounts, is always considered as not 
being in the very best taste. What is called a balanced style, 
is one in which the successive phrases are too uniformly of the 
same length, while the emphatic words recur too nearly in the 
same part of each. As exemplifications of the extreme of a prin- 
ciple are most readily understood, we shall first select an ex- 
tract from a composition in which the phrases are exactly bal- 
anced — the general character of the style being also that of 
poetical prose. Such passages are favorite ones with juvenile 
speakers, and are useful in exciting rhetorical enthusiasm, yet 
on the other hand, their too musical rhythm naturally leads to a 
tone in reading or speaking. 

We ought however to remark, that the extracts which we fur- 
nished in the previous section, illustrate in some respect our 
present subject, as well as that for which they were selected. 
It is impossible to find striking passages of any length, whose 
rhythm shall be exclusively that of unemphatic words. 

We shall continue the same scheme of notation, but in addi- 
tion shall generally mark the most emphatic words by inflex- 
ions. We shall also endeavor so to arrange the lines as to show 
the parallelism, both of the phrases and of the emphases. To 
simplify the notation still farther, we shall not — as was done in 
the last section — separate all the accentual groups from each 
other. 

FROM U ROLLA TO THE PERUVIANS." 

\ / 

They follow an adventurer whom they fear, 

/ . \ 

and obey a "power which they hate. 



RHYTHM OF EMPHASIS. 145 

/ / 

We || serve a monarch || whom we love, 

/ \ 

a God || whom we arfore. 

/ 
Whenever they move in anger, 

\ 
deso/ation || tracks their progress. \ 

/ 
Wherever they pawse in amity, 

\ 
auction moi^rns their/nenoJship. \ 

Such composition, as will readily be perceived, is in fact met- 
rical. It would be a useful exercise for the student to arrange, 
in similar modes, the whole speech, which may be found in most 
books of extracts for reading and speaking. To make further 
extracts in this place, from compositions written in a style so 
vicious, would be superfluous. 

Let us rather substitute a magnificent passage from Plunket, 
which probably approaches as near in its rhythm to the inva- 
riableness of poetry, as can be permitted in prose. Plunket was 
an Irish orator, and while equal to any of his countrymen in 
splendor, was perhaps superior in manliness of taste. 

/ 
I shall bear in my heart, 

the consciousness of having done my duty ;\ 

/ 

and in the hour of death, 

I shall not be haunted by the rejection 

of having oasely sold, 

/ 
or meanly abandoned, 

the liberties || of my native land.\ 
13* 



146 GENERAL H4BITS IN DELIVERY. 

/ 

Can every man, 

/ 
who gives his vote || on the other side, 

/ 
this night, 

/ 
lay his hand || upon his heart, 

/ 
and make the same || declaration? 

\/ 

I hope so — 

it will be well \\ for his own peace ;\ 

/ 
the indignation || and abAorrence || of his countrymen, 

/ 

will not accompany him || through life, 

/ 
and the enrses || ofhiscfoVdren 

will not/b/low him to his grave.\ 

Our subject being of the highest practical importance, we 
shall extract another passage from the same speech of Plunket's, 
which will illustrate the compatibility of uniting the most mag- 
nificent rhythm, with the most powerful argumentation. We 
shall mark a few inflexions, and print some words in capitals to 
show their importance in the rhvthm as well as the reasoning. 

\ 
Sir, 1 thank || the administration 

for attempting || this measure. \ 
They are, || without intending it, 

pitting an end \\ to our dissensions. \ 
Through this \\ Hack cloud, 



RHYTHM OP EMPHASIS. 147 

which they have collected over us, 

\ 
I see || the light 

breaking in || upon this un/brtunate country. \ 

They have composed 

our dissensions ;\ 

not || by fomenting the embers 

/ 
ofa/ingering || and subdued || rebellion, 

/ 
not || byhal/ooing the Protestant || against the Catholic, 

/ 
and the Catholic || against the Protestant, 

not || by inconsistent appeals 

/ 
to local || or party prejudices, 

\ 
no! 

\ 
but by the avowal 

/ / 

of this atrocious conspiracy 1 1 against the liberties of ireland ; 

\ 
they have subdued 

every petty || and subordinate distinction. \ 

\ 
They have united every rank and description of men, 

by the pressure 1 1 of this grand and momentous snoject ; \ 

/ 
And I tell them, \ 

[ireland, 

they will see || every nonest and independent man || in 
rally || round her constitution, \ 



148 GENERAL HABITS IN DELIVERY. 

/ 

and merge || every consideration 
in his opposition 

to this ungenerous || and odious measure. 

For my own part, 

/ 
J will resist it || to the last gasp of my existence, 

and with the last drop || of my blood, -\ 

/ 
and when I feel || the hour of my dissolution approaching, 

\ 
J will like the father of jfYannibal, 

\ 
take my cMdren || to the a/tar, 

\ 
and swear || them 

/ 
to eternal hosfr'/ity 

against the invaders || of my coi/ntry'syreedom. 



RHYTHM PRODUCED BY QUANTITY. 

The italic character which we have hitherto employed to in- 
dicate the accents of rhythm, suggests to the mind of the reader, 
stress or force rather than prolongation. The examples we 
have thus far given, will exhibit fine rhythms, even if quantity 
be to some extent neglected. The most natural mode of read- 
ing or speaking them, will indeed be characterized by frequent 
prolongation, as well as by stress, but it has been deemed ad- 
visable to simplify the notation, by omitting all marks of quantity. 

In the two passages which we next present, the rhythm de- 
pends more on prolongation, than on accentual or emphatic 
stress. We shall therefore print them in such a way as particu- 



RHYTHM OF QUANTITY. 1 49 

Jarly to attract attention to this prolonged dwelling of the voice 
on certain words and groups. The mode which we adopt, is 
that of separating the letters of a word, from each other. This 
is the German fashion of indicating the importance of words, in 
situations in which the English and Americans are accustomed 
to substitute italic for roman characters. When a word is em- 
phatic by stress alone, without being at the same time strikingly 
prolonged, we shall indicate its emphasis by italics or capitals, 
as in our other examples. 

The rhythm which we are now considering, has not, so far 
as we know, been hitherto described, in books of rhetoric and 
elocution. Quantity has indeed, been generally recognized as 
an important quality of syllables, and the fact that it is most 
conspicuous in the utterance of those which are accented and 
emphatic, is now universally known. But the fact that not only 
the accented syllables of polysyllabic words, but entire emphatic 
words and groups, are often extremely prolonged in the time of 
their utterance, has not, we believe, been mentioned. If our 
memory is inaccurate in this respect, and such prolongation has 
been previously described, still its importance and the frequency 
of its occurrence in either impressive or graceful delivery, has 
certainly not received a due appreciation. 

Not only accented and emphatic syllables, but long 
words and complete groups and phrases, are often given 
with a total change in the rate of utterance. The time 
of the tune (to use musical language) is changed at once, 
from a quick movement to a slow one. 

By resorting to accurate observation and experiment, 
it may be demonstrated with absolute certainty, that 
these emphatic words, groups, or phrases, are exactly 
twice as sloiv — each accentual group occupying two 
beats instead of one. 



150 GENERAL HABITS IN DELIVERY. 

This change of time is common in impressive sacred music. 
We may sometimes observe at the close of an anthem, that for 
two or three measures, the time changes to notes of twice the 
length. The movement being the same, crotchets are changed 
to minims, minims to semibreves, and so with other notes. 
The effect of the change is precisely the same in music as in 
elocution. The same principle, however, is exemplified in va- 
rious other passages of music besides those we have just men- 
tioned. Whenever for the sake of emphasis, either in vocal or 
instrumental music, a succession of long notes is substituted 
for short ones in the same movement, it is for the same reason. 

It was not theoretically, or merely in parlor reading, that we 
first ascertained the practical importance of this principle. We 
have for many years found it extremely difficult to teach com- 
plete heartiness of expression on emphatic words and clauses. 
No matter how powerful and earnest the example set by the 
teacher, the student would often fall short of expressing real 
earnestness. Though apparently exerting himself to the ut- 
most, his voice yet gave no expression but that of an unmean- 
ing force ; or it seemed to fall short of earnestness, from diffi- 
dence or want of breath. In reference to such cases we final- 
ly ascertained, after resorting to various modes of teaching, 
that the information we have just communicated was precisely 
that which the student most needed. This knowledge, joined 
to the directions in our early chapters for practising a thorough 
expulsion of the breath, enables every student of delivery to 
give a true emphatic earnestness. 

It is philosophically interesting in a high degree, to notice 
the operation of this principle in enabling a person to speak 
with ease in the style required for the open air. In this situa- 
tion, speaking is necessarily so slow, that it is easy to estimate 
accurately the time that elapses between the successive accents. 
Emphatic words will be noticed as occupying just twice as much 
time as others. 



RHYTHM OF QUANTITY. 151 

The following extract from Burke, is a surprising instance of 
the power of language and style, when managed by a man of 
| genius, in elevating the most unpromising subject into rhetori- 
cal dignity and splendor. 

NEW ENGLAND WHALE FISHERY. 

As to the wealth, || Mr. Speaker, / 

[fisheries, 
; which the colonies || have drawn from the sea, || by their 

j you had al I that matter 

\ 
fu 1 ly explained || by Dr. F ranklin. 

; And pray, sir, || what in the wor 1 d 

\ 
is equal to it ? 

/ 
Pass by | the other parts, 

and look at the manner || in which the people of New England 

have, of late, || carried on the whale fishery. / 

[ice, 

Whilst we follow them || among the tumbling mountains of 

and behold them || penetrating into the deepest frozen recesses 

/ 
of H ud son ' s Bay, || and Davis's Straits, 

/ 

whilst we are looking for them || beneath the Arctic circle, 

we hear that they have pierced || into the op po si te region of po- 
\ [larcold; 

that they are at the Antipodes; 

and engaged under the Froze n Serpe n t || oftheSouth.\ 

Falkland Island, 

/ 
which seemed too remote || and romantic an object 

/ . 

for the grasp || of national ambition, 



152 GENERAL HABITS IN DELIVERY. 

\ 
is but a stage , 

\ 
and resting place, 

in the progress || of their || victorious industry. 

Nor is the equinoctial heat 

/ 

more discouraging to them, 

than the accumulated winter || of both the poles 
We know || that whilst some of them 

draw the line, || and strike the harpoon, 

/ 
on the c o a s t of Africa, 

others 

\ 

run the longitude, 

and pursue their gigantic game 

along the coast of Brazil. 

\ 

No se a 

/ 
but what is vexed || by their fisheries, 

no climate 

that is not witness || to their toils. \ 

/ 
Neither the perseverance || of Holland, 

\ 

nor the activity || of France, 

nor the dexterous || and firm sagacity 

\ 

of English enterprise, 

\ 
ever carried 

this most perilous mode || of hardy industry 

to the extent || to which it has been pushed 

by this recent p e o p 1 e ; \ 



RHYTHM OF QUANTITY. 153 

a people 

who are still, as it were, j| but i n th e gristle , 
and not yet || hardened into the bone 
of manhood. 
When I contemplate || these things; 

when I know || that the colonies, || in general, 

/ 

owe little or nothing |[ to any care of ours; 

/ 

and that they are n o t || s q u e e z ed into this happy form, 

/ 
by the constraints || of a watchful |j and suspicious go vern men t; 

\/ 

but that through a wise || and sal u tary n eglec t, 

\ 
a generous nature 

\ / 

has been suffered || to take her own way || to perfection ; 

when I reflect || upon these effects, 

/ 
when I see || how pro fi tab 1 e they have been to us, 

I feel a 1 1 the pride of power || sink,\ 

/ 

and all presumption || in the wisdom of human contrivances 

melt || and die away within me.\ 
My rigor || relents. \ 

I pardon || something 

to the spirit |) of 1 i b e r t y . 

Our next extract is likewise from Burke, and is commonly 
called his Apostrophe to the Queen of France. We do not, 
however, quite perceive the propriety of styling it an apostro- 
phe. It may be considered as carrying the peculiar style of 
composition in which it is written, to the utmost allowable ex- 
treme. We feel bound to apologize for making any rhetorical 

14 



154 GENERAL HABITS IN DELIVERY. 

criticisms in our work, because we consider it a most injurious 
mistake for teachers of elocution to suppose themselves, as some 
seem to do, to be really employed in teaching oratory. Unless 
elocution is distinctly separated from oratory, no useful attain- 
ments will be made in either. Delivery will become bombastic 
and ranting, while composition will substitute sound for sense, 
and theatrical clap-trap for clear exposition and eloquent appeal. 
Still we do not think the time has yet arrived for attempting to 
teach all the legitimate resources of powerful and interesting 
elocution, exclusively on compositions no more rhetorical than 
students will find strictly appropriate in future dealings with their 
fellow men. A rhetorical structure of style, for a long time 
renders great assistance in awakening the imagination and feel- 
ings, during the practice of speaking. This is the only excuse 
for tolerating the absurdity of declaiming , instead of reading or 
reciting poetry in public. We suggest these hints at present, 
but shall remark further on such matters when we come to de- 
scribe the lessons and subjects of study for the Junior and Se- 
nior classes. 

QUEEN ANTOINETTE. 

It i9 now || sixteen or seventeen years, \ 

since I saw the Queen of France, \\ then the Dauphiness, 

at Versailles ;\ 

\ 
and surely || n e ver lighted on this or b , 

which she hardly || seemed to touch, 

a more delightful vision. 

\ saw her || just above the horizon , \ 

decorating and cheering \\ the elevated sphere 

she just began to move in;\ 

\ 
glittering || like the morning star; 



RHYTHM OF QUANTITY. 155 

full || of 1 i f e 
and splendor 
and joy. 

Oh ! || what a revolation!\ 
and what a h eart || must I have, 

to contemplate | without emotion , 

/ 
that !| elevation, 

and that |j f a 1 1 . \ 

Little l| did I dream, \ 

that, when she added || titles of v en e r ation , 

/ 

to those of enthusiastic, || distant, l| respectful love, 

that she should ever || be obliged to carry 

/ 

the sharp antidote || against disgrace 

concealed || in that bosom; 

/ 
little || did I dream 

that I should have lived || to see such disasters || fallen upon her 

in a nation || of gallant men;\ 

\ 

in a nation of men of honor, 

and of cavaliers. 

\ 
I thought || ten thousand swords 

must have leaped || from their scabbards, 

\ 
to avenge || even a look 

that threatened her || with insult. 

But the age \\ of chivalry 

is gone. 



156 GENERAL HABITS IN DELIVERY. 

That of sophisters, |] economists || and caZculators, 

has succeeded, 
and the glory of Europe 

is extinguished || forever. 
Never, || nevermore 
shall we behold 

that generous loyalty || to rank and sex,\ 
that proud || submission, \ 

that dignified || obedience, \ 

\ 

that subordination || of the heart, 

/ 

which kept alive || even in servitude || itself 

the spirit || of an exalted freedom. \ 

The unbought grace || of life, 

the cheap defe nee || of nations, 

[prise , 

the nurse || of manly sentiment || and heroic enter- 
is gone. 
It is gone, || that sensibility || of principle, \ 

that chastity || of honor, \ 

/ 
which felt a stain, 

like a wound;\ 

/ 
which inspired courage, 

whilst it mi tig ated || ferocity; \ 
which ennobled 

whatever it touched; \ 
and under which || vice itself, \ 
lost half || its evil , 

by losing all || its gross nes s . 



FAMILIAR RHYTHM. 157 



FAMILIAR RHYTHM. 

We have hitherto furnished such examples only, as exhibit 
rhythms of the most striking kinds. Even the dullest ear feels 
the charms of such composition. But all prose is clothed with 
an agreeable rhythm, when issuihg from the lips of an accom- 
plished reader or speaker. It has been said of the celebrated 
Lord Mansfield, that his elocution gave even to the driest legal 
documents a charm as of poetry or song. Even in unpremed- 
itated conversation, those who have agreeable voices often su- 
peradd to the other graces of their manner, the fascination of 
a rhythm ever varying, yet always musical. Strong excitement 
of the imagination and feelings, while it makes poets break 
into unpremeditated song, exerts a similar influence on men of 
every variety of character. Outpourings of love, friendship, or 
sympathy, are uttered by all persons alike in rhythmical modu- 
lations of voice, as well as in language more or less imaginative 
and poetical. Indignation and the harsher or sterner feelings, 
have likewise a strong and abrupt rhythm of their own. The 
profound emotion and the concentrated meditation of earnest 
extemporaneous prayer — freeing, as they do, the higher faculties 
from the restraining and disturbing influences of egotism— 
have an astonishing effect; prompting even in unlettered minds, 
a copious flow of elevated language, poured out in a rhythm 
like that of a grand voluntary on an organ. 

The perpetually varied rhythm which may be made to con- 
stitute the highest charm of familiar delivery, cannot be ade- 
quately represented to the eye, unless we resort to the notation 
of music; while even this would need to be enriched with a 
still larger number of discriminating marks. Even when illus* 
trated by the voice of a captivating speaker, it is not always 
fully appreciated by an auditory, until after long cultivation of 
the ear. Not only the varying length and slowness of the 

14* 



158 GENERAL HABITS IN DELIVERY. 

phrases, together with the rhythm of the emphatic words, but 
the secondary accents and the separate syllables of words, con- 
tribute to the whole effect. As the syllables fall trippingly from 
the tongue, each has its place in the tune, like the rapid notes 
of spirited instrumental music. 

To assist therefore still farther in forming the ear for the mu- 
sic of style, we shall extract a passage from a lecture delivered 
by Mr. Webster before a Mechanics' Institute. For the pur- 
pose of exhibiting the peculiar grace and beauty of the tripping 
flow of speech with which such compositions should be read or 
spoken, we shall divide the words into their constituent sylla- 
bles, and mark the secondary as well as the primary accents. 
We have divided the words into the smallest practicable groups, 
but in reading each line, care must be exercised that in many 
cases, none but articulating pauses are made during the course 
of a phrase. The utterance must proceed with a smooth flu- 
ency. The most graceful delivery of such passages, is with 
such tripping distinctness on the unaccented syllables, that the 
reading or speaking will often appear to some as if much more 
rapid than it really is. 

Ma-cai-ner-y || is made to ver-form 

what has /or-mer-ly || been the toil of k-man hands y 

to an en-tent || that as-fon-ish-es the most san-guine, 

with a de-gree of pow-er 

to which no num-ber of Aw-man arms || is £-qual, 

and with sweh pre-cis-ion |j and ex-acf-ness, 

as al-most to sug-gest 

the no-tion || of rca-son and in-teMi-gence, 

in the ma-chines themselves. 

Ev-e-ry nat-u-ral .#-gent 

is pwt un-re-lent-'mg-ly || to the task. 



FAMILIAR RHYTHM. 159 

The winds || work, 

the toa-ters || work, 

the e-las-*i-ci-ty of met-uls || works ; 

grav-i-ly || is so-Zi-ci-ted in-to a thousand new forms ofac-tion; 

Ze-vers || are ?nwZ-ti-plied up-on le-vers ; 

wheels \\ re-volve up-on the per-ipA-er-ies of oth-cr wheels ; 

the saw and the plane 

are tor-tured || zn-to an ac-com-mo-da-tion to new L r -ses ; 

and last of all \\ with in-im-i-ta-ble pow-er, 

and with whirl- wind sound, 

comes the yo-tent ^-gen-cy || of steam. 

In com-par-i-son with the past, 

what cen-tu-ries || of im-prore-ment 

has this sin-g\e .#-gent 

corn-prised || in the short corn-pass of Jif- ty years! 

Ev-er-y where || prac-ti-ca-ble, 

ec-er-y where ef^-cient, 

[cu-les, 
it has an arm || a fAoM-sand times strong-er || than that of Her- 

and to which /tu-man in-ge-ww-i-ty 

is ca-pa-ble || of fit-ling a £Aou-sand times as ma-ny hands, 

as he-longed to Bri-a-reus. 

Steam || is found in tri-um-phant op-er-a-tion || on the seas ; 

and wn-der the m-flu-ence of its strong nro-pul-sion, 



160 GENERAL HABITS IN DELIVERY. 

the gal-\ant ship 

"A-gainst the wind, D a-gainst the tide, 
Still stead-iea w?'th an «p-right keel." 

It is on the riv-ers, 

and the boat-man may re-pose on his oars ; 

it is in high-ways, 

[ance ; 

and be-gins to ex-ert it-self \\ a-long the courses of land con-vey- 

it is at the &o£-tom of mines, 

a fAow-sand /eei || be-low the earth's sur-face ; 

it is in the ?niZZ, || and in the work-shops of the trades. 

It rows, it pumps, it cz-ca-vates, || it car-ries, it draws, it lifts, 

it Aara-mers, it spins, it weaves, it prints. 

It seems to say to wen, 

at least \\ to the class of ar-ti-sans, 

'« Lease off || your man-u-al Za-bor, 

give O-ver | your iod-i-ly toil ; 

he-stow but your skill and rea-son 

to the di-rec£-ing of my pow-er, 

and / || will bear the toil, — 

with no wms-cle || to grow wea-ry, 

no nerve || to re-lax, 

no breast || to feel faint-ness." 

Before leaving the subject of rhythm, we ought to caution 
against supposing that we think prose compositions of the high- 



FAMILIAR RHYTHM. 161 

est beauty of style must necessarily possess rhythms similar to 
those of the extract which we have furnished. So difficult is 
it to illustrate this subject by description merely, or even by vo- 
cal exemplifications unaccompanied with a minute and tedious 
commentary, that we have designedly chosen passages in which 
the rhythms are of the kind most readily appreciated by those 
who have devoted little or no attention to the beauties of style. 
The rhythms of some of our finest writers — Southey, Coleridge 
and Paley, for instance — exhibit less approximation to meter ; 
and while for this reason they make less impression on an un- 
cultivated ear, they are yet pronounced by the best critics to be 
on this very account superior in agreeable effect. We believe 
the best judges consider the most difficult attainment in the 
management of prose style, to be the exhibition of harmony, 
i. e. rhythm, without at the same time repeating any one tune 
so often, that the ear gets accustomed to and anticipates it. 

It will be noticed that we place rhythm among the General 
Habits of Delivery. As the subject is so difficult of explana- 
tion, and understood and appreciated by so small a proportion 
of teachers and students of elocution, this location may excite 
surprise. It may seem like expecting too much from the young- 
er students, that they shall acquire habits of varied and agree- 
able rhythm during the introductory and elementary part of the 
study of practical speaking. 

Our readers may smile when they find us again insisting up- 
on practice in very large rooms, and in the open air. Yet for 
the acquisition of rhythmical habits, as of so many other requi- 
sites of an agreeable delivery, practice in such situations is in- 
dispensable. When external circumstances interpose no check 
to the flow of free and hearty efforts, rhythm is as certain to be 
developed, as prolongation of quantity or a full and melodious 
voice. It becomes an unfailing accompaniment of natural en- 
thusiasm, and of that glow of onward progress in the succes- 
sion of ideas, which was called by the ancients the " torrent" 



162 GENERAL HABITS IN DELIVERY. 

of delivery. Let a speaker abandon himself unreservedly to 
all the influences that produce eloquence, and he will exhibit a 
striking rhythm, as certainly as he will display a free and cap- 
tivating series of attitudes and gestures. 



CADENCE. 

This word, (derived from cado, to fall,) means the descent of 
the voice which marks the close of a period or paragraph. It is 
strictly appropriate only when the close is made by an actual 
fall of the voice in pitch. Yet many sentences and many long 
periods and paragraphs do not in fact, end on a lower pitch. 
It may happen that sentences expressing questions and emo- 
tions of admiration, as well as various forms of enthusiasm, 
will terminate most naturally on a high key. In such cases 
however, the voice is generally softened in loudness during its 
rise in pitch ; and there thus occurs a falling off in force, which 
still renders the word cadence not inappropriate. 

The word cadence is very often used also in another sense, 
by writers on criticism, who apply the term to the sort of tune 
which is produced either in prose or poetry, by the rhythm of 
balanced phrases. This subject we have just considered under 
the head of Rhythm of Phrases. 

Cadences are among the most striking portions of the tune of 
a reader's or a speaker's voice. According as they are harmo- 
nious or otherwise, will the delivery produce in the minds of the 
hearers, that impression of repose and satisfaction, which is so 
essential to agreeable effect. 

The elocution of uncultivated speakers, whose voices are in- 
flexible and whose minds proceed mechanically in delivery, is 
often strikingly faulty in their cadences. Not only do their 
periods and paragraphs fail of exhibiting the great variety at the 
end of each, which is required by the grammatical and rhetorical 
structure, but even the simplest and most common forms of ca- 



CADENCE. 163 



dence — such as all use in ordinary conversation — are not al- 
ways given in a natural manner. Sometimes the voice pro- 
ceeds to the very last syllable in an unvarying monotony. In 
| other cases it leaves off, at the close of a sentence, with what is 
called a tone. Others again, conclude with an awkward fall in 
I pitch, which produces the effect of a false note in music. 

Short and simple sentences, which end with a period and are 
i unconnected with others, form their cadences on no more than 
: one or two of the last syllables. There are several variations 
1 however, even in these the simplest forms of cadence ; for a de- 
| scription of which, those who are curious in regard to such sub- 
! jects, may refer to the work of Dr. Rush, or that of Prof. Day. 
1 It is inconsistent with the plan of the present treatise, to enter 
into details so minute. Yet as some directions are required, the 
following are given as having been found most useful. 

In the first place, follow no rule whatever, in regard 
to ending a short sentence with a cadence. Very fre- 
quently, a decided rising inflection is required at a period, 
and the sentence is to be read as if it were either incom- 
plete, or inseparably connected with what follows. 

If rules are constructed for this purpose, (as may readily be 
done,) they become so intricate and various as to be worse than 
useless. The natural instincts of the mind and voice will infal- 
libly direct a reader or speaker aright, precisely as in common 
conversation. All that is required is a flexible voice, and the 
habit of entering fully into the spirit of a paragraph, so as to ex- 
hibit the connexions and relations of thought. 

Secondly, when a true and proper cadence is to be 
made, suffer the voice to follow its own instincts, and do 
not interrupt the flow of delivery, by an awkward pause, 
made merely in the way of preparation for a cadence. 

This is a very common fault of those who study elocution by 
themselves. Every time their eye observes a period in punctu- 



164 GENERAL HABITS IN DELIVERY. 

ation, they are apt to stop and deliberately prepare themselves 
for a downward drop of the voice. By so doing, instead of se- 
curing their object of executing cadences correctly, they merely 
substitute an artificial and labored awkwardness, for the natural 
yet less disagreeable infelicity of some kind of tone. 

Thirdly, all cadences require some degree at least, of 
an easy and graceful deliberation. 

Let the mind, as it approaches towards the close of a 
sentence (at least of one of any length) be kept collected 
and composed. Let the rate of utterance generally be- 
come a little slower. Then suffer the voice to proceed 
steadily, and with the tones suggested by natural in- 
stinct. 

In speaking, and sometimes in public reading, let the 
eye look steadily and calmly at the faces of the hearers. 
Then if the mind is composed and collected, the voice 
will not fail of being correct. 

The question whether gestures are to be made upon ca- 
dences, depends on whether they contain strikingly emphatic 
words. If they do not, it is generally better to let the arm drop, 
before the close, and in place of a gesture, to substitute a col- 
lected look, and a sympathizing inflexion of the body. 

The above directions apply to the ordinary cadences, that are 
of perpetual occurrence, during the progress of continuous dis- 
course. It remains to consider the management of the voice 
in what is one of the most striking parts of a well constructed 
composition, viz. the winding up or winding off, of the course 
of thought which runs through an entire discourse, or an im- 
portant division. In these places, there are but two general 
modes in which the voice proceeds. 

Most commonly, there should be exhibited at the end 
of a discourse or of a long paragraph, a gradual descent 
in pitch, not only during the utterance of several words, 



CAD ENCE 



165 



but of several phrases, or even sentences. The ear of 
the hearer will thus be warned, that the course of thought 
is coming to a close. 

Occasionally however, the enthusiastic feeling prompted by 
the composition, should cause the voice to rise towards the end. 
This rising progress of the voice needs no cultivation. It is less 
common, and less important; while at the same time it is at- 
tended with no difficulty in execution. We need not illustrate 
it even by a single example. 

The gradual descent of pitch which marks the winding offof 
a course of thought, requires for its successful execution, that 
the voice shall have been previously cultivated. If this has not 
been done by the habit of actually dealing with audiences, few 
will be found successful in this part of delivery, unless after care- 
ful training. Uncultivated voices fail in strength and steadiness 
on the lower notes, and when earnestness is to be expressed, 
generally rise in pitch. The effect is to diminish, or actually 
destroy, all grace, dignity and repose, in this part of delivery. 

In preparing, then, for the close of a strain of thought, 
care must be taken gradually to lower the voice in pitch, 
and at the same time to increase the force and energy of 
titter ance. 

Unless the voice be deliberately strengthened as it 
descends to its lower notes, the delivery will fail not 
only of impressiveness, but of grace and composure. 
The lower notes will be feeble and languid, or even 
husky and inarticulate. 

As we have before remarked, all noisy loudness proceeds from 
the union of loud force and high pitch of voice. On the lower 
notes, it is absolutely impossible to make a voice sound disa- 
greeably loud. The same exertion which produces loud tones 
on high notes, makes the lowest ones simply musical. Some 

15 



166 GENERAL HABITS IN DELIVERY. 

who have voices of a low key, occasionally shrink from the en- 
ergy of utterance which we are directing, because it seems to 
them to make their voices disagreeably harsh. Such are mis- 
taken as to the actual quality of sound that they exhibit. What 
appears like harshness, is merely the agreeable roughness which 
strong male voices exhibit on the lower notes of the bass. The 
quality is the same as that which is so much admired in the 
brass instrument of music called the trombone. 

In respect to that gradual winding off of delivery, which is 
now under consideration, there are still two other points which 
require attention. 

First, the actual descent of the voice is not from one 
word or syllable to another, but by successively lower 
keys of pitch at the beginning of each phrase. 

The change of key is at the beginning of each phrase. As 
the phrase proceeds, the voice may rise again. 

Secondly, if the descent is through several phrases, the 
downward progress from one to another will not generally 
be invariable. One or more phrases will begin on a 
much higher key than that which immediately precedes 
or follows it. 

The final phrase, however, will be lower than any that has 
preceded. 

All this will be made clear by the mode of printing adopted 
in the following examples, which resembles the concluding salu- 
tations and subscriptions of a formal epistle. When the suc- 
cessive phrases begin on a lower key, they are placed farther to 
the right on the page. When, after a fall of key on one or 
more preceding phrases, the next begins on a higher key, it 
will be brought back farther to the left again. If a phrase af- 
ter beginning on a lower key, rises as it proceeds, the rise will 
be indicated by placing the words on a higher line. 






CADENCE 



167 



Sir, 



EXAMPLES FOR PRACTICE. 

neither the human ■ 

nor the human "^standing ,\ 
■,. bear a perversion 

monstrous, 

so ' 

i absurd; 

so re- voltin S 

to the soul ' 

so shocking 

to reason. 

And then ' 
as now,\ 

may the sun > 

in his course, 

• -no land,\ 
visit ' N 



more 



free, 
more happy, 
lovely, 
this. 



more 



than 



Wirt. 



our 



own,\ 



country. 



Webster. 



168 GENERAL HABITS IN DELIVERY. 

And now > 

the vortex || roars ;\ 

and the stru ^ lin ^ victira 
buffets ^ fiery wave, 
with feebler str( > ke . 
and warnm S supplication, 

until de- s P air > v 
flashes u P° n his soul > 
and with an outcry || that pierces the heavens, 
i ceases 

to strive ' 
and 

disappears. 

Beecher. 



CHAPTER VIII. 

CIRCUMSTANCES. 

The present chapter will be devoted to those general habits, 
by which a speaker, or a public reader, adapts his delivery to the 
circumstances of his situation and audience. 

It is singular that such subjects should so often have been 
omitted in treatises on elocution, inasmuch as it is obvious that 



CIRCUMSTANCES. 169 

a careful study of them must be fundamentally important in 
reference to public efforts. Would it not have been more use- 
ful to devote to such topics, the space which so many have occu- 
pied in recommending what audiences consider as disagreeable 
affectations — such as artificial and awkward positions of the feet 
— pronouncing the adjective pronoun my, like the substantive 
pronoun me — giving the Irish pronunciation of the letter r — and 
other peculiarities which a sensible man would dislike to display 
in private society ? 

It has already been incidentally remarked, that a principal 
reason of the imperfect success which has hitherto attended the 
efforts of elocutionists to teach a truly useful delivery, is the 
habit of giving instruction in small rooms. It ought to be still 
further enjoined, that the careful practice of speaking in a small 
room, will in the great majority of cases, produce habits abso- 
lutely fatal to success in large ones. When a room at least as 
large as a church capable of seating six or eight hundred people 
cannot be occupied for this purpose, there is no resource except 
to resort to the open air. Mere boys may indeed be profitably 
taught in a room sufficiently large for an ordinary public school ; 
but young men who are preparing to be clergymen, debaters, or 
lecturers, must be accustomed to speak in rooms certainly as 
large as those which they will occupy in future life. Omitting 
for the present all consideration of the necessity of strength of 
voice, of slowness combined with conversational inflexion, and 
of the expulsive accent required for large audiences, all elevated 
delivery, and also all familiar reading or speaking that is ad- 
dressed to several hundreds — not to speak of thousands — of per- 
sons, requires what is called in the language of art, breadth of 
style. Without the more enlarged outlines (so to speak) 
which give what artists describe by this term in painting and 
sculpture, delivery before large audiences must necessarily ap- 
pear petty and meagre, and can have neither dignity nor inter* 
15* 



170 GENERAL HABITS IN DELIVERY. 

est. In vocal music, the same principle is thoroughly under- 
stood and exemplified by all great public performers; while it is 
the want of such knowledge that causes amateur singers gener- 
ally to fail of success when they appear in public concerts. 
Perhaps it is the same reason, which has prevented several suc- 
cessful elocutionists from becoming acceptable actors. Without 
breadth of manner, no performance in any art will be approved 
of by the great mass of mankind. It seems to be superiority 
in this respect which causes men destitute of a liberal educa- 
tion, so often to succeed better as speakers, than those who 
have prepared themselves in the seclusion of a learned retreat. 
Their broader and heartier manner, more than compensates for 
their frequently inferior refinement and correctness in regard to 
minor details. Hitherto indeed, a considerable portion of most 
treatises on delivery, has been occupied with subjects of no more 
fundamental importance in reference to making a useful im- 
pression on an audience, than in a treatise on politeness, would 
be the question whether a man should take off his hat, in saluta- 
tion, with his right or his left hand. In most cases indeed, the 
right hand will be more convenient, but the essential requisites 
of a polite salutation depend not at all on which is used. 

ADAPTATION OF DELIVERY TO SIZE OF AUDIENCE. 

It is an obvious dictate of common sense, that speakers should 
wish their audiences to hear them. They are apt, however, to 
forget that it is a duty incumbent on themselves, to take pains 
that all may do so. As the countenances of those only who 
are nearer to them, attract attention and assist by their sympa- 
thy, the more distant hearers are often neglected. In the case 
of very large audiences, a speaker cannot determine by sight, 
whether those most distant are able easily to follow him. His 
ear however, should be an infallible guide in determining this 
point, and nature provides him the means for deciding it. 






SIZE OF AUDIENCE. 171 

By reflecting a little, we can recall to mind the fact, that when 
we address a person at a considerable distance, (suppose for in- 
stance in asking a question,) we not only speak louder, but raise 
the pitch of the voice. If the distance is extreme, we use the 
highest pitch of which the voice is capable. The sound is 
shrill, and the more shrill it is, the farther is it heard. 

Hence the appropriate key for large audiences is gov- 
erned, in the first place and principally, by the distance of 
the most remote portion. 

But sound travels rather slowly through the air. It requires 
an appreciable period of time, for a syllable to reach the ex- 
tremity of the largest audiences. Greater force must therefore 
be given to the impulse, or the sound-waves of the air will die 
away before reaching the required distance. Now the greater 
the force, the more fatiguing the exertion, and consequently the 
slower the repetition of the effort. Hence the more distant the 
auditor, the slower is the utterance. 

In hallooing to a person at the distance of a quarter of a mile 
or more, the utterance becomes a slow and prolonged cry. It 
may seem surprising that we speak of making ourselves intelli- 
gible for more than a quarter of a mile, but the strongest voices 
may be distinctly understood for more than half a mile. Irving, 
in his Astoria, mentions that this fact has been observed among 
our western Indians. 

In addressing the largest audiences, then, each syllable 
is prolonged, and their succession is slow. 

A speech that requires an hour for delivery in the opea air, 
may be deliberately read aloud to a parlor audience in fifteen 
minutes. Sermons that require half an hour for delivery from 
the pulpit, may be read to a family in half that time. 

A natural delivery will therefore require, both a higher 
key and a slower utterance, in proportion to the size of 
the audience. 



172 GENERAL HABITS IN DELIVERY. 

An unnaturally low key as the prevailing pitch, may indeed 
be made audible over a large space, by increased exertion, or by 
a monotonous drawl, but the effect will be as disagreeable as the 
effort is strained and unnatural. 

There is an apparent exception to this statement, in that de- 
livery which is characterized by great depth of emotion and im- 
pressiveness of manner. In such cases, however, it is the great 
energy and extreme slowness of the utterance, that compensate 
for the absence of a high pitch ; these are never exhibited ex- 
cept when the speaker is deeply interested, and makes a strongly 
impassioned appeal. If his delivery is simply didactic or famil- 
iar, his voice naturally rises. 

The question however will occur, how is it that some men 
speak with great rapidity, and yet succeed in making themselves 
intelligible to large audiences? This is effected principally by 
means of that familiar energy which owes its liveliness and spirit 
to a very strong accent. Accent in such cases, is given by radi- 
cal stress upon all, and especially upon the principal syllables. 
This sudden and expulsive effort of the vocal organs gives an 
impulse to the sound-waves of the air, which makes them move 
more rapidly, and causes the sounds to reach the required dis- 
tance in less time. We shall find however, that even such 
speakers do not utter as many words in the same period of 
time, when addressing large assemblies, as when speaking to 
smaller ones. Their delivery, being characterized by more of the 
tone of conversation, is in fact less rapid than it appears to be. 

The rule, then, for adapting the voice to the size of 
an a*udience, is to trust confidently to the natural instinct 
which enables a person to adapt his voice to different 
distances in conversation. 

If an unpractised speaker fails at any time of being heard, 
let him take more pains in his next effort, and afterwards in- 
quire of a friend how he has succeeded. After one or two 



ECHO OF ROOMS. 



173 



such inquiries, it will need but little experience to enable him 
to place full confidence in his own judgment. 

Attitude and Gesture should also be adapted to the 
size of the audience. The rules for this are simple. 
The farther off the more distant part of the hearers, the 
more erect will be the speaker's natural attitude, in or- 
der that the countenance and eye may easily address 
them. The higher also will the arm be raised, that the 
palm of the hand may appeal to them in gesture. When 
the audience is small and very near the speaker, his bo- 
dy, in earnest address, bends forward at the hips, that he 
may look them full in the face, while for a similar rea- 
son, the arm in gesture is somewhat lowered. See p. 41. 

ADAPTATION TO ECHO OF ROOMS. 

It is universally known that some rooms are more favorable 
than others for both speaker and hearer. 

Any room, however, is better than the open air. The walls 
and ceiling even of the worst, assist the speaker by rendering 
his voice more musical, and therefore more expressive in its 
tone. They produce an effect similar to that of the sounding 
board of a piano, not only in this respect, but also in causing 
less strength to be required for mere audibility. Even music 
will sound tame and spiritless in the open air, unless the instru- 
ments are of great power and played with energy. This is one 
of the principal reasons why military bands at the present day 
make almost exclusive use of brass instruments. 

A well constructed room assists the voice by its reverberation, 
and an artist in delivery may be considered as one who makes 
joint use of two instruments for operating on his audience, viz. 
his voice and an echoing room. Such a room gives a reverbe- 
ration strong and distinct, but not so rapid as to make one echo 
mingle with another, and thus produce a confusion of sounds. 



174 GENERAL HABITS IN DELIVERY. 

Rooms which are difficult or disagreeable to speak in, are of 
two kinds. 

1st. The reverberation may be too feeble. In this case the 
voice sounds more or less as in the open air. It seems dead 
and inexpressive, and the speaker is apt instinctively to exert 
himself more than is necessary, even when he is only aiming 
to be distinctly and easily heard. Clergymen for this reason 
complain of such rooms, that they are hard and fatiguing to 
speak in, and say they find it difficult to fill them. If the room 
be small, this complaint proceeds from a mistake made by the 
speaker's ear — he being accustomed to hear a reverberation, 
by which he is guided in judging whether his voice is audible. 
But if large, he is really required to fatigue himself by great 
exertions, to attain his object. 

In such a case, if the speaker wishes his voice to sound ex- 
pressive and interesting, it is absolutely necessary that he use 
far greater stress of voice and enunciation, than in a room of 
the same size, which has a stronger reverberation. He must 
be guided by the actual sound of his voice in the room, and if 
speaking in one very unfavorable, sometimes needs to make ex- 
hausting efforts to produce a satisfactory effect. 

On the other hand, the echo in some rooms is rapid and mul- 
tiplying. Being several times repeated, great confusion of 
sounds results. Not only are there several reverberations of a 
single syllable, or of a note in music, but each is so quick, that 
one does not die away before the next syllable or note succeeds, 
causing both sounds to be mingled together. Such rooms 
make a speaker appear to have a very indistinct articulation, 
and when so situated, he must proceed with a careful slowness, 
and a studied regularity of rhythm. By adapting his voice ac- 
curately in these respects, his articulation will sound distinct 
and clear, instead of confused and obscure. He must also 
guard against being too loud. Too great strength of voice will 
produce a reverberation too powerful. 



ECHO OF ROOMS. 175 

It is by means of the echo, that a practised speaker knows 
when his voice fills the room. M;iny persons, who think they 
have been speaking with great loudness, are surprised when 
told that they were not readily heard. This mistake proceeds 
from their attention having been occupied by the physical ex- 
ertion they were making in the throat, instead of listening to 
the sound of their voices in the room, and the consequent re- 
verberation. This habit of doing nothing more than watch 
one's own internal efforts, is fatal to success, and indeed to mere 
ease of speaking. 

In strong delivery there is, likewise, a ringing or crash of 
the speaker's voice about his own ears, which in fact proceeds 
from a vibration of the bones in his head, and which is rather 
disagreeable if he suffers his attention to be occupied with it. 
This also causes some to mistake as to the degree of loudness 
which they actually employ. Let the speaker turn his atten- 
tion wholly away from such bodily sensations, and listen, as it 
were, to his voice after it has issued from him, observing how 
it sounds in the distance. By attending to this point, he will 
soon learn to judge how it actually sounds to others, and espe- 
cially to those at some distance from him. If he adapts his 
voice well to a room that is large yet favorable, it is pleasanter 
for an auditor to be at some distance from him ; and the com- 
mon habit of preferring the nearest seats, is owing to the pre- 
vailing carelessness of speakers in regulating their voices. 

Young men when practising elocution, often complain of the 
disagreeable sound of their voices in an empty room. Perhaps 
some of their companions may be present, and declare their 
speaking not to be loud enough, while on the other hand, they 
either assert that their voices sound too loud to themselves, or 
complain of the echo. The above considerations explain both 
these mistakes. When the voice is accurately adapted to a 
room, there will be no confusion of echo, even if the loudness 
is absurdly great. The presence or absence of an audience, 



176 GENERAL HABITS IN DELIVERY. 

makes no difference in this respect. The only difference re- 
sulting from the presence of numerous auditors, is that the re- 
verberation is less strong, and that generally there is more or 
less of a rustling noise from an assembly — both which circum- 
stances deaden the sound of the speaker's voice, and make the 
reverberation less perceptible. The greatest difficulty that 
speakers have to encounter from an audience, results from the 
carelessness of those who enter the room with a loud tread. 

The strength of even the weakest human voices, is greater 
than seems to be generally known. It was necessary for a 
Greek actor to be able to make himself distinctly audible to thir- 
ty thousand people, and that too in a theatre without a roof. 
We have never met with a voice, where there has been no dis- 
ease of the throat or lungs, which was not capable, after a little 
cultivation, of filling the largest audience rooms, and that too 
without a disagreeable effort. 

ADAPTATION TO RESTLESS AUDIENCES- 

The most common difficulty in this respect, proceeds from 
the entrance of a number of persons after the speaker has com- 
menced his address. The only remedy is to employ such a de- 
gree of deliberate force and distinctness, as shall reach to the 
very extremity of the room, and immediately attract the atten- 
tion of those who are just entering. 

When an audience is noisy from restlessness or inattention, 
the chief means for stilling it will be, to alternate passages of 
force, power and energy of delivery, with those of low, distinct 
and impressive tones. In such a situation, the most imponant 
quality for a speaker is steadiness and deliberate self-possession. 
If he exhibits a sort of nervous excitement, the audience will 
grow more noisy from sympathy. A marked and pointed style 
of address, likewise, and especially a striking emphasis, are of- 
ten necessary. At the same time, a forcible and very distinct 
articulation should be invariably used in such circumstances. 



SELF POSSESSION. 177 

A speaker ought always to consider bis delivery in fault, if 
his audience are not still and attentive, no matter how uninter- 
esting to them may be his ideas or language. 

The nervous systems both of men and brute animals, are 
constructed with an express adaptation to the influences of the 
human voice. The striking force and earnestness which we 
instinctively employ to command animals, children and servants, 
and which in a less degree we use in conversation, when we 
are determined to be attended to, are familiar instances. 
Skillful speakers feel conscious of the same power over audien- 
ces, whatever style of address be most appropriate for the sub- 
ject and occasion. 



CHAPTER IX. 



SELF MANAGEMENT. 



The subjects to be considered in the present chapter, must 
be ranked among the General Habits of Delivery, yet cannot 
conveniently be classed with any of the previous topics. With 
a partial exception in reference to the Melody of Speech, they 
depend not so much on natural and uncultivated instincts of 
utterance, as on that self consciousness and power of intention- 
ally regulating and directing our natural impulses, which is the 
most distinguishing characteristic of cultivated and disciplined 
minds. The topics of the chapter are — self control and stead- 
iness in speaking ; the manner of beginning an address ; the 
manner of concluding ; and what is called by Dr. Rush, the 
melody of speech. 

SELF FOSSESSION. 

Self control in speaking ought not to be considered as exclu- 
sively dependent on natural organization and turn of charac- 

16 



178 



GENERAL HABITS IN DELIVERY. 



ter. Those who are constitutionally bold on ordinary occasions, 
are often most liable to embarrassment and confusion in public 
speaking; while retiring and diffident, but thoughtful minds, 
are more frequently prompted to enthusiasm by the presence of 
an audience. The self possession of a speaker is, in fact, pro- 
portioned to the inward activity of his mind. Those who are 
habitually the sport of external impulses, have nothing to steady 
them when these are new and embarrassing ; but the more re- 
flecting and meditative, become outwardly calm by means of in- 
tense mental activity within. 

Though practical delivery requires a sympathy with the audi- 
ence, yet this is but a secondary rather than a primary object 
of attention. Even merely ad captandum speaking is no ex- 
ception. True enthusiasm either of thought or imagination, 
is self excited and self encouraged. Without such indepen- 
dence of external impulses, there cannot indeed be any de- 
livery that shall be either worthy of applause, or of sufficient 
interest even to excite disapprobation. Though actors are sup- 
posed (probably falsely) to be more dependent on approbation 
than speakers, yet even their principal reliance is on genial im- 
pulses and inward consciousness of power. 

But the very practice of speaking cultivates habits of self 
possession. Improvement in this requisite, keeps pace uni- 
formly with progress in all the other qualities of a good delivery. 
Not only the mental but the bodily habits acquired, contribute 
to this desirable result. 

No separate lessons or rules are needed, for attaining 
self possession, farther than the general direction to prac- 
tise intense thought, and give free play to the imagina- 
tion and feelings. 

If the constitutionally nervous still wish for further 
directions, let them, when in danger of becoming con- 
fused, always resort to deliberate force and energy. 



MODE OF BEGINNING 



179 



Though direct acts of self command may not be in 
their power, yet they will experience no difficulty in 
making strong and energetic efforts, a short perseverance 
in which will soon bring their faculties under their own 
control. 

When lawyers are hindered by embarrassing interruptions, 
they commonly resort to loud tones or strong declamation. 
From the instinctive effort which they thus make to free them- 
selves from embarrassment, and facilitate their onward progress, 
we may derive a useful hint for students of elocution. 

At the close of the volume, additional suggestions will be of- 
fered, under the head of Extemporaneous Speaking. 

MANNER OF BEGINNING AN ADDRESS. 

This part of delivery often occasions needless apprehensions. 
Practical extemporaneous speakers also, when beginning to 
speak, sometimes exhibit either an apparently affected slowness 
and hesitancy, or an obscure mumbling, which seems equally 
unnecessary. Many of them indulge themselves, when first 
commencing, in awkward and lounging attitudes, and various 
little acts which serve the purpose of occupying time until their 
voices have grown clear and their articulation firm. 

There is no actual necessity, however, for exhibiting impro- 
prieties of delivery at the beginning, more than during any sub- 
sequent part of a discourse. The very first word that is spo- 
ken, ought to be accurately adapted to the room, in reference 
to the necessary degree of audibility, distinct articulation, and 
an appropriate style of address. 

It is a mistake to suppose, that the commencement of an ad- 
dress must in all cases be with a subdued loudness. Though 
this is generally required, yet if the sentiments and language 
in the first part of the address be bold and abrupt, the delivery 
ought to correspond. It is also a very prevalent fault, even 



180 GENERAL HABITS IN DELIVERY. 

among able speakers, to waste unnecessary time in exordiums, 
which are made more for their own gratification, than that of 
the hearers. 

As however in most cases the tone with which a good speak- 
er begins, should be different for a short time, some directions 
may be useful in reference to acquiring suitable habits. 

All that is really necessary for this purpose, is to cul- 
tivate the habit of withdrawing the mind in some de- 
gree from the audience, when beginning to speak, and 
concentrating it on the train of thought that the speak- 
er intends to follow. 

This act puts the mind more or less into a musing 
state — a state which produces a tone of thoughtfulness. 
The tone thus will be less loud and exciting than that 
which will soon follow. 

As the mind is occupied (at least in part) with the 
train of thought, rather than merely with the few first 
words of the address, the voice exhibits a tone of prepa- 
ration, which is in fact the only essential requisite for 
this part of delivery. 

It is not difficult to analyze this preparatory tone, and show 
what modifications of voice unite to produce it. It will how- 
ever be more useful for the student, to secure the habit of ex- 
hibiting it, by practising the mental acts from which it proceeds, 
than to endeavor to master such subtle distinctions, by efforts 
that are merely vocal. 

Still farther, while actually uttering the first two or 
three words, the mind of the speaker should be as it 
were scarcely conscious of them, but on the contrary, 
should look forward to words of more force and empha- 
sis, which are soon to succeed. 



MODE OF CONCLUDING. 181 

Such more important words may occur very soon, or not till 
after several phrases or even sentences. 

For unpractised speakers, the more abrupt the commence- 
ment, and the sooner an emphatic word occurs, the easier, in 
the first part of a discourse, is the speaking. 

Though by following the above directions, the speaker will 
exhibit an appropriate moderation, thoughtfulness and tone of 
preparation, yet care must be taken that the voice be not ab- 
stract and inexpressive. 

The tone of address should be decidedly manifest, 
while the delivery, as just stated, must be accurately 
adapted to the size of the audience. 

At the commencement of an address, it is improper to ex- 
tend the arm in gesture at the moment of uttering the very first 
words. Yet if this be done, it is rather a violation of English 
and American custom, than a fault in natural action. A more 
appropriate habit, however, for students of elocution, is to sub- 
stitute graceful inflexions of the body in place of gestures with 
the hand. 

One more caution. Let the student be careful not to begin 
in a hurried manner. If a bow precedes, let it be, as already 
directed, deliberate, and not succeeded by the voice until after 
a slight pause. As extreme nervousness is apt to produce a 
confused haste, such as are subject to it will do well to endeav- 
or to occupy as much time as possible, while speaking the in- 
troductory portion of a discourse. 

MANNER OF CONCLUDING AN ADDRESS. 

This subject has been in part anticipated by our remarks and 
examples under the head of cadence. 

To be able to wind off gradually and with grace or impres- 
siveness, requires that the voice shall have been practised in de- 
scending with steady firmness from its middle to its lowest notes, 

16* 



182 GENERAL HABITS IN DELIVERY. 

and that habits of self control and collectedness of mind in 
speaking, shall have become thoroughly established. 

As there is a tone of preparation for subsequent force 
and power, which characterizes an appropriate mode of 
beginning, so there is a marked modification of manner 
which warns the hearers that the speaker is drawing to 
a close. 

The mental act from which it results, is that of look- 
ing forwards, and accurately calculating one's approxi- 
mation to the actual close, while at the same time there 
is a sense of the propriety of giving a corresponding 
warning to the hearers. 

It is not advisable to enter into a complete and scientific anal- 
ysis of all the modifications of the voice which result. The 
most important to be known are the following. 

The rate of utterance is more slow. The syllables 
are more prolonged. The voice descends by successive 
stages from phrase to phrase. The phrases also become 
shorter, and are separated by longer pauses. 

Though just before the end, there generally oc- 
curs a phrase on which the voice must suddenly rise 
again, yet the rise will not be so high as it would be if a 
new paragraph were to be introduced. After such a rise, 
the final sentence or phrase is very low — lower than that 
which immediately preceded the higher phrase. 

The delivery is generally less pointed and explanatory, 
and inclines more to the meditative mood. As the voice 
descends lower and lower in pitch, its tone must be 
made firm and strong, or the delivery will become faint 
and inefficient. 

The worst fault that can be exhibited in concluding an ad- 
dresSj is that of suffering the voice, after the tone of winding 



DIATONIC MELODY. 183 

off has been entered upon, to rise too high in pitch, and at the 
same time proceed in that more lively and familiar manner, 
which causes the hearers to suppose that the speaker is not in 
fact near the close, but is proceeding to add still further re- 
marks. This disappointment is extremely disagreeable, and if, 
as is sometimes done, the fault is repeated two or three times, 
the hearers may lose patience, and cease to give further atten- 
tion. In very many instances, when a discourse is complained 
of for being too long, the complaint originates, not in the actu- 
al length, but in this repeated expectation of a close, and sub- 
sequent disappointment. 

THE DIATONIC MELODY OF SPEECH. 

This was first described by Dr. Rush, to whose work, or to 
the briefer treatise of Prof. Day, we must refer for a full and sci- 
entific account of it. With respect however, to the examples 
given in the latter work, in illustration of different varieties of 
melody, those who consult it must bear in mind, that its author 
has intentionally avoided deciding positively, as to the strict ap- 
propriateness of one melody rather than another, for various 
passages in respect to which there may exist differences of taste. 

A general description of the diatonic melody may be 
given as follows. Take any one phrase, clause or sen- 
tence, in which there occurs no sudden change of the 
course of thought or expression, and the voice either 
continues on the same line of pitch, or rises and falls 
gradually and by very small distances between succes- 
sive syllables. 

A sudden and wide transition of pitch is made only 
when it is necessary to give a marked and distinctive 
emphasis, or a sudden change of expression. 



184 GENERAL HABITS IN DELIVERY. 

If a course of thought flows evenly along, with fullness of lan- 
guage, and in a style destitute of striking and pointedly emphatic 
words, an agreeable delivery will run in the diatonic melody. 
In such a case, to make wide changes of pitch on words which 
require no emphatic inflexion, will have the effect of introducing 
an emphasis or a change of expression where none is wanted. 

Hence no direction is required for enabling a reader or 
speaker to exhibit this natural quality of speech, farther than 
never to make a sudden change of pitch on a word, unless for 
some definite reason in reference to emphasis or expression on 
that particular word. As this melody is one of the natural habits 
of the voice, it ought to be exhibited independently of study and 
practice particularly directed to its acquisition. 

Yet its description has justly been considered one of the most 
valuable of the contributions made by Dr. Rush to elocution. 
Before the publication of his work, it was very common to ob- 
serve that those who took especial pains to read with an agree- 
able animation, were in the habit of arbitrarily skipping up and 
down in pitch, without reference to appropriate emphasis, and 
thus not only injuring materially the grace and dignity of their 
reading, but obscuring the sense and natural expression of the 
language. 

Some writers seem to suppose that this plain melody is not 
heard in lively and familiar conversation. We think their opin- 
ion unfounded. The error results from not distinguishing the 
unemphatic from the emphatic portions of sentences uttered in 
such conversation. The more frequent and striking the em- 
phatic changes of pitch, the more indeed is the plain diatonic 
melody broken in upon, yet still all but a few of the syllables 
proceed as above described. There is indeed, a certain vul- 
gar liveliness of manner sometimes heard in conversation, which 
constitutes a true exception to the general fact which we assert. 
This is not however exhibited by those who converse in an 
agreeable style. 






DIATONIC MELODY. 185 

An instance occasionally, though rarely occurs, in which it is 
the natural tendency of a person's voice to proceed in a melody 
of wider intervals, and thus have a tone of banter or mockery, 
even on the most serious occasions. A speaker who is so un- 
fortunate as to have a voice of this sort, is liable to appear 
strangely undignified and incapable of serious earnestness. 
The tone of the Irish peasantry, which seems to us in this coun- 
try so unnatural, and to have an expression of so much confus- 
edness of feeling, is owing to the fact that it runs in a melody of 
thirds instead of seconds, and exhibits the vanishing instead of 
the radical stress. We have no provincial tones in the United 
States as strongly marked as those of Great Britain and Ireland, 
in which countries they are often characterized by oddity of 
melody. 

Those who wish to study the voice in a strictly scientific man- 
ner, must acquire a knowledge of music sufficient to enable 
them to investigate the diatonic melody in its theory and accu- 
rate analysis. For the purposes of the present treatise, it will 
be most useful, simply to mention that a liability to violate its 
principles in practical reading and speaking, will certainly be 
prevented by the course of lessons which we have prescribed. 

When the speaker has been sufficiently accustomed 
to hearty and sincere efforts in the open air, and in large 
rooms, his voice habitually proceeds in this melody, in 
precisely the same degree as it becomes capable of ex- 
pulsive energy, slowness, prolongation, a grave, full tone, 
and a bold and commanding emphasis and expression. 

By the same practice also, the odd voices which we have just 
described, lose their unfortunate peculiarity, and become digni- 
fied and graceful. 

Before dismissing this subject, it should be stated that there 
are two important exceptions to the universality of the diatonic 
melody in natural speech. First, interrogative and conditional 



186 GENERAL HABITS IN DELIVERY. 

sentences, as will be explained in part second of this treatise, 
run in a melody of thirds or fifths. Secondly, the tones of 
irony, sarcasm, sneering, mockery, and other such expressions, 
are always in a melody strongly marked by wide intervals. In 
this we see the explanation of the peculiar impression made by 
the above mentioned odd voices. Let the student try the utter- 
ing of sentences with either of these expressions, and he will be 
able to distinguish that his voice skips by wide intervals up and 
down in pitch, and proceeds, as it were in waving, curling and 
twisting tones. The general run indeed, (to use technical lan- 
guage,) is in waves of thirds and fifths, 



187 

PART II. 

EXPOSITION OF THOUGHT. 

Great injustice would be done to elocution, if its principles 
should not be more fully explained than has been done in the 
preceding part of this treatise. All may indeed become prac- 
tical speakers, by means of the explanation there given of the 
general facts in regard to the natural action of the mind and 
body in public delivery, but cultivated minds can never rest sat- 
isfied, without a knowledge of a set of principles founded more 
on laws of thought and language. 

We must endeavor to furnish at least an outline of the physi- 
ology of speech, in reference to the principles by which words 
are united into groups and phrases, and receive different inflex- 
ions and varying degrees of force, for the purpose of exhibiting 
the exact meaning of sentences. 

It is obvious that Articulation and Pronunciation, ought not 
to be classed with these topics. They concern words taken 
singly, and are not affected by the various relations of sentences, 
or parts of sentences, to each other. 

The Grouping of Words, we have indeed partially described, 
as a physiological law producing one of the general habits of 
all utterance, but have reserved its more scientific and accurate 
description for this part of our volume. There will be no prac- 
tical inconvenience however, from the slight repetition which 
thus becomes unavoidable. 

Emphasis has been considered merely in reference to the 
general mental and physical exertion by which it is effected. It 
remains to point out the principal relations of thought which 
make it necessary. 



188 



EXPOSITION OF THOUGHT. 



Rhythm is one of those general habits of utterance which 
are entirely independent of the meaning of the language ; it 
has therefore been appropriately placed in the preceding part. 
Yet as it varies somewhat, according to the peculiar sentiment 
and expression of what is read or spoken, some further notice 
will be taken of it in part third. 

Cadences, which have been already treated of, have a few 
variations, which produce a greater or less completeness of 
separation between the end of one sentence and the beginning 
of the next, and accordingly will receive some further consider- 
ation in respect to this point, under the head of Inflexion. 

The topics, then, which properly belong to this part of our 
treatise, are — 

1st. Grouping, which is of two kinds; one, that of single 
words into Groups of Words; the other, that of Groups of 
Words into Phrases of Utterance. 

2. Inflexions. 

3. Emphasis. 

4. Transition between paragraphs. 

But before proceeding to treat specifically of these subjects, it 
is necessary to premise some observations on the connexion be- 
tween elocution, and the established sciences of grammar and 
rhetoric, as well as the laws of reasoning. 

The laws which it is now our province to investigate, are 
like those in the first part of our treatise, physiological; and 
though they have a general connection with those of grammar, 
rhetoric and logic, they cannot entirely coincide with them. 
Unless the reader or speaker is actuated, either consciously or un- 
consciously, by a part at least of the laws of these three sciences, 
there can be no delivery that is any thing more than a mere un- 
meaning articulation of words. Yet though these sciences treat 
of the relations of language and of thought, neither of them makes 
any provision for the pauses, and the various modulations of 
voice, by which the distinctions which they recognize are to be 



EXPOSITION OF THOUGHT. 189 

exhibited to the ear. When we examine a written or printed 
sentence by the eye, in reference to its grammatical or rhet- 
orical structure, and to the logical relations of its ideas, we 
mentally place words in juxtaposition, which are separated from 
each other by intervening ones. In doing this, we are guided 
by principles of language and reasoning, and are assisted also 
by marks of punctuation. So likewise, if we listen to the same 
composition, delivered with an unvarying drawl, like that of a 
street crier, we are not able to understand its meaning, except 
by the same process carried on in our minds as we listen. But 
if the tones of the delivery are those of free and animated con- 
versation, nature has provided modifications of the voice, which 
explain to the listener, with infallible certainty, all the grammat- 
ical, rhetorical and logical distinctions which he must himself 
make, when he endeavors to understand the meaning of sen- 
tences, either in silent reading, or while listening to a senseless 
style of utterance. The description of these provisions of na- 
ture, is the province of elocution. 

Every scientific explanatory distinction, is not however neces- 
sary for intelligibility in ordinary circumstances ; and though 
we believe it will be found, on thorough investigation, that they 
are all provided for in the laws of utterance, yet the mind re- 
lieves both itself and the body of unnecessary labor, by employ- 
ing no more resources of the voice than are necessary and con- 
venient in particular circumstances. The same abridgment 
and carelessness are tolerated in regard to language. No good 
style employs every word that is grammatically and logically 
admissible in reference to the ideas and feelings which the 
writer intends to convey. 

Accordingly it is not our plan to exhaust the subject of the 
variations of the voice by enumerating and describing them all. 
On the contrary, we shall endeavor to confine ourselves within 
the limits of practical utility. At the same time, while we shall 
aim to consider elocution in its natural connection with establish- 

17 



190 EXPOSITION OF THOUGHT. 

ed sciences, especially that of grammar, let not the student appre- 
hend that it will thus be rendered more abstruse and difficult. 
Instead of becoming more difficult, it will be rendered easier. 

The grammatical principles which habitually guide our 
minds in correct reading or speaking, are likewise our instinc- 
tive guides in conversation. They are natural laws of mental 
action, which prompt the utterance of the child and the man, 
the educated and the illiterate. So far as the mind is concern- 
ed, the ve/y act of reading or speaking consists, as has been 
mentioned in the preface, in transferring to itself written or 
printed words, or those which have been laboriously selected for 
extemporaneous delivery, in the condition of ideas not completely 
clothed in language, so that their utterance shall spring from 
those natural impulses by which we express ideas in articulate 
words and inseparably associated tones. In fewer words, the 
mind is to be brought into the same situation, so far as the re- 
lations of thought are concerned, as that of conversation. If, 
however, the style of a composition is more complicated and 
intricate than that which the reader or speaker would himself 
employ, the difficulties of delivery are really those of readily 
apprehending the grammar, rhetoric and logic, of all but the 
simplest passages. A teacher of reading in a school, is in fact 
occupied principally in familiarizing immature and feeble minds, 
with such uncommon and difficult forms of construction, as are 
employed by none but men of superior depth and range of mind, 
and which are never heard in the domestic circle. This is in- 
deed the most important of the benefits which result from this 
branch of instruction in schools. By means of it, that cultiva- 
tion of mind is attained, which qualifies for understanding and 
appreciating the most elevated compositions, and which can oth- 
erwise be acquired, only by a laborious study of language, or by 
a long and varied course of reading. 

The writer requests permission to insert an account of the 
following experiment. Believing that the minds even of young 






EXPOSITION OF THOUGHT. 191 

children, may readily be taught to apprehend the most unac- 
customed forms of construction, if familiarized with them 
through the medium of their appropriate tones of utterance, he 
took a class of about twelve little boys in a common school, whose 
average age was not far from ten years, and drilled them for some 
time, in reading the whole of the epistles to the Ephesians and 
Philippians ; books which are more difficult of comprehension, so 
far as their style is concerned, than any others of the sacred vol- 
ume. He then requested a scholar distinguished for the ability 
with which he had commented on a volume of Greek literature, to 
hear the boys read. The gentleman was deeply interested, and 
himself entered upon a similar course of mental discipline. When 
listening to these children, it was easy to perceive the reasons of 
the occasional mistakes which they made. Such errors gener- 
ally resulted from connected ideas being separated by interven- 
ing passages of such length, that the mind of the child forgot 
what at so considerable a distance had preceded, and read ideas 
as separate, which required to be joined together. Many of the 
examples which we shall insert in this part of the present vol- 
ume, are passages written in periods of extreme length, and re- 
quire some degree of mental cultivation for their successful 
management in delivery. This cultivation in reference to ap- 
prehending the meaning and force of difficult passages, can be 
infallibly acquired, by no other means than the study of lan- 
guage in some one of the customary modes. Although children 
must be taught by mere example and through the medium of 
sympathy with the mind of the teacher, yet a work for acade- 
mies and colleges ought to proceed on higher grounds. We 
shall therefore lay down no principle founded on the mere taste 
and judgment of an elocutionist, but shall state all the laws of 
reading in coincidence with knowledge derived from established 
branches of study. This plan will, as we have just said, be 
found as much more easy and agreeable, as it is more philo- 
sophical, and in accordance with regular scholarship. 



192 EXPOSITION OF THOUGHT. 

CHAPTER I. 

GROUPS AND PHRASES. 

In this chapter we shall present a general account of the 
principles upon which sentences are divided, in reading, into 
portions which are separated by pauses. The principles of 
pauses for the exposition of thought, are evidently the same as 
those for dividing sentences into groups and phrases. It will 
be necessary likewise, to make some remarks upon punctuation. 

The common directions in books of elocution, for subdivi- 
ding sentences by pauses, are so loose, and yet so difficult of 
ready application, that teachers, we believe, generally recom- 
mend their pupils to guide themselves solely by the instincts of 
the ear. Yet as even young children find it natural and easy 
to read sentences in small portions with appropriate pauses, it 
would seem that the principles by which their minds are actu- 
ally guided must necessarily be simple. The real difficulty in 
the common directions, seems to arise, not from the fact that 
they are founded on grammar, but from their application re- 
quiring that sort of grammatical analysis which is called pars- 
ing. It is difficult, and indeed almost impossible, for one to 
carry on a process of parsing, during the glowing progress of 
the mind which is necessary for animated delivery. Still, much 
of the instinctive analysis made by a reader, is in accordance 
with common grammatical principles. The most necessary 
of these we shall endeavor to explain. We hope the occa- 
sional employment of a few familiar terms of grammar, will 
not give a repulsive aspect to the following pages, especially as 
the examples will be intelligible without any description, and 
their practice will of itself, and without accompanying com- 
ment, form the desired habits of mind in delivery. In the pres- 
ent, as in the previous part of the volume, all that is absolutely 



PUNCTUATION. 193 

necessary in the way of precept, will be printed in a larger 
type, while such portions will be still fewer than heretofore. 

It will be noticed, that although we refer to grammatical 
principles for the purpose of explaining the formation of groups 
and phrases, yet we never describe them as invariably coinci- 
ding with particular grammatical combinations. In fact the 
connexions and separations which are made among words in nat- 
ural utterance, need not be wholly of the same kind throughout 
a sentence, as those which are made by grammar. When we 
analyze a sentence of any length, on grammatical principles, 
we are continually obliged to consider the relations and con- 
nexions of words that are separated — often to a considerable 
distance — from each other, by intervening words. But in ut- 
tering the sentence, we must take the words in the order in 
which they occur. 

Neither can we be guided exclusively by marks of punctua- 
tion, however often, or with whatever accuracy, these may be 
inserted. As we shall immediately proceed to explain, these 
marks are used according to no fixed and invariable rule. It 
is impossible that they should be, inasmuch as their use is partly 
to indicate pauses for the voice, and partly to assist in explain- 
ing the grammatical connexion of words, in situations where 
no pauses are made in natural and conversational utterance. 
Even when inserted with the greatest admissible frequency, 
they never indicate all the divisions in sentences where pauses 
are naturally made. The frequency and length of vocal pauses 
also, can never be reduced to fixed and uniform principles, be- 
cause they are always influenced in a greater or less degree, by 
the style of delivery, in respect to calm deliberation or eager 
excitement in pursuing a course of thought. 

Yet as it is a very prevalent mistake in school instruction, to 

regard the common marks of punctuation as intended solely 

for marking pauses of the voice, it will be well to devote a few 

words to a consideration of our modern system of such marks. 

17* 



194 EXPOSITION OF THOUGHT. 

The ancients employed no marks corresponding to ours of 
punctuation, and since their introduction by the moderns, the 
fashion for inserting them has been constantly fluctuating. 
Authors generally leave the business to the printers, who ex- 
hibit a better tact in using them ; yet no two of the latter follow 
precisely the same rules. A hundred years ago, semicolons, 
and especially colons, were much oftener employed than at pre- 
sent. The dash is of later adoption than the other marks, and 
has not yet been introduced to any great extent, in punctuating 
the sacred Scriptures, or editions of the ancient classics. 
Some editors and printers, however, make an extremely frequent 
use of it, as a substitute for all the others. It seems to be the 
great difference in construction and arrangement between mod- 
ern and ancient style, that has led to the adoption of the dash in 
addition to the comma, semicolon, colon and period. These 
regular marks were first employed for the Latin language, and 
have never been used for the Greek, for which a different set 
was invented. They may be inserted on pretty definite and in- 
variable principles in the former tongue, and likewise in com- 
positions in modern languages, when their style is arranged af- 
ter the classic models. 

But whatever plan be adopted for their use, they are less 
necessary for the assistance of the reader, than is generally 
imagined. The ancients did without them, and the moderns 
make but little use of them in manuscript. A letter of friend- 
ship, carefully pointed as if for the press, would appear pedan- 
tic and in bad taste. It is laid down as an important rule of 
composition by Blair, never to suffer the construction of a sen- 
tence to depend on the absence or insertion of a mark of punc- 
tuation. The fashion of the present day, inclines to use as few 
of them in books as possible, and to insert commas more than 
formerly, in place of semicolons. The colon, as employed a 
hundred or a hundred and fifty years ago, is now generally su- 
perseded by the period. In short, the whole set of marks is in- 



PUNCTUATION. 195 

tended to indicate a part only of the grammatical divisions, and 
in very many cases, commas are inserted in situations where a 
pause is never made in the utterance of ordinary conversation. 
As the latter fact is not generally known, it may be useful to 
insert a single example, although scarcely an extract is intro- 
duced into our volume, which does not afford instances. E. g. 
" The latest foreign news by the steamer is, that war has been 
declared in England." In this example the comma, by the in- 
variable rule of printing, is placed between the copula is, and 
the conjunction that. The rule admits of no exceptions. Yet 
in conversation, the pause is invariably before is, instead of af- 
ter it. The two words is and that are unaccented, and are 
grouped with whatever words immediately follow. If we pause 
after is, the word becomes accented, contrary to the genius of 
our tongue. In Latin, this would not perhaps be the case. 
The rhythm of that language, like that of the French, would 
suffer est to receive an accent. In English, the division of 
the sentence is thus : " The latest foreign news by the steam- 
er is that war has been declared in England." We have 
mentioned the comma after is, as the only one in accordance 
with common custom. It is a vague rule, however, to insert 
one after the nominative, (i. e. the subject,) when this is long, 
though how long it must be, no one attempts to decide. Ac- 
cording to this precept, another comma might be introduced 
in the above sentence, viz. before is, as well as after it. By 
rule, also, there may be still an additional one after news ; e. g. 
" The latest foreign news, by the steamer, is, that war has been 
declared in England." Conversational utterance, however, 
will always group is with that, leaving a pause at the end of 
the subject; and if the circumstance " by the steamer" is made 
important, will separate it from the preceding member likewise 
by a pause : e. g. " The latest foreign news by the steam- 

er is that war has been declared in England." 



196 EXPOSITION OF THOUGHT. 

The mind of a reader, then, may notice all the marks of 
punctuation, and use their assistance in reference to a quick 
apprehension of the grammatical structure of sentences ; or — 
what is the same thing — may employ them as aids in catching 
the meaning of a passage, at an instantaneous glance of the 
eye. No reader must however take them as invariable guides 
for vocal pausing. 

Dismissing therefore all further consideration of the common 
marks of punctuation, it remains for us to investigate the actu- 
al connexions and separations of words that take place in utter- 
ance, and the consequent pauses that are needed. This sub- 
ject will be considered under the heads of Groups of Utterance, 
and Phrases of Utterance. 

The lengths of the different pauses that separate groups and 
phrases, can be reduced to no unvarying principles, except 
when they are determined by the rhythm. Neither does any 
difficulty ever occur in reference to this point. Phrases are 
naturally separated by longer pauses than groups. Groups of 
more than one accent, or compound groups, as they will be 
called, are often subdivided for mere convenience of breath. 
The absolute length of any particular pause, perpetually varies 
in accordance with the slowness of the delivery, or the demands 
of the rhythm ; and in respect to these, the natural instincts of 
the ear and voice are infallible guides. 

The significance of a pause does not often depend on the 
degree of its length, but is determined by the inflexion and 
prolongation of tone on the word that immediately precedes it. 
In speaking, the attitude, look and gesture, likewise, are es- 
sential to the significance of a pause. 

The management of the breath, though connected with the 
length of pauses, is not absolutely dependent on them, as has 
been already mentioned on page 52. Vide also, pp. 99, 101, 
105, 107, 108. 



PRINCIPLES OF GROUPING. 197 



PRINCIPLES OF GROUPING. 

Among our practical directions, we enjoin as the most impor- 
tant precept for managing the mind in delivery, " to think in- 
tensely while speaking." It will be necessary therefore, to in- 
vestigate in this place so much of the action of the mind in 
thinking, as immediately influences the voice in utterance. It 
belongs to elocution as a branch of physiology, to describe the 
joint action of the mental as well as the vocal impulses, which 
produce the varying modifications of the voice that occur in the 
utterance of thought and feeling. 

Though the first impulses from which thought and reasoning 
spring, do not exist in the form of words, yet these immediately 
follow; and whatever may in some cases be possible, it is un- 
questionable that we ordinarily think by means of words. 
Words however, take in the mind the forms, not of written but 
of spoken language.* Even in silent thought, the words which 
we employ are imagined as sounds. More especially in uttered 
thought, words are sounds expressed by articulation, and have 
as necessary accompaniments the various modifications of the 
voice which we are investigating. 

From the account given in the second chapter of Genesis, 
and from the earliest efforts of children in learning to talk, it 
would seem that the first act of speech is to articulate names of 
things ; that is, to employ nouns as the first elements of lan- 
guage. Some, however, have supposed that verbs must, in the 
history of language, be of earlier origin than nouns. It will not 

* When we learn a language, without studying the pronunciation, we 
still associate some sort of sound with the written characters. If, as in 
the case of Chinese characters or Egyptian hieroglyphics, we know 
nothing about their sound, we still associate with them words or 
phrases which express their meaning in our own tongue. We "pro- 
nounce the written characters by means of our own language. 



198 EXPOSITION OF THOUGHT. 

be necessary for our purpose to adopt either opinion to the ex- 
clusion of the other. It is certainly the earliest effort in all 
speech, to make use of words, which by themselves convey 
ideas. These words are nouns (including adjectives) and verbs 

If a noun or verb consists of several syllables, the unity with 
which the mind regards them collectively, is vocally expressed 
by means of a strong accent on one of the syllables, as described 
in the first part of this treatise. This strong effort on one syl- 
lable, causes the others, by the laws of muscular action, to have 
a weaker utterance. 

The mind being more strongly interested in these words of 
primary importance, they are uttered with more force than those 
which convey no ideas by themselves, but which are merely 
subservient to the others. On account of this subserviency, 
secondary words of speech are united, in the view which the 
mind takes of them, to the primary ones. This union is repre- 
sented by the voice, through the medium of such a close junc- 
tion as admits of no pause between them. The actual words of 
utterance are what we have called groups, and are often com- 
pounded of a primary word, and one or more of these secondary 
ones which have no meaning except in union with the primary. 

The law of repeated muscular action also, being that of an 
alternation of stronger and weaker efforts, secondary words are 
uttered in the weaker action. Thus, as they are weaker, and 
also united to the stronger primary ones, we have a succession 
of groups, each of which has a single strongly accented syllable, 
and is separated from those which precede and follow, by some 
degree of pause, i. e. by a break in the continuity of articula- 
tion. 

We have thus, by a strictly scientific investigation, demon- 
strated the doctrine of the grouping of speech, which we had 
before explained and illustrated in a general and popular way. 

We formerly mentioned however, that numerous exceptions oc- 
cur to the law, by which the secondary parts of speech are either 



PRINCIPLES OF GROUPING. 199 

monosyllabic and unaccented words, or, if polysyllabic, are ac- 
cented with less force, and inseparably connected, by grouping, 
with nouns or verbs. It is necessary to notice these exceptions 
more carefully. 

Ordinary speech is always in a considerable degree elliptical 
and abridged. It is often also irregular in respect to the most 
logical arrangement of its words. But if speech be made per- 
fect, by supplying words for every idea, and relation of thought, 
the law which we have just described will be invariably ob- 
served. The more complete and regular the style of a written 
composition, the more simple are the laws of its elocution. 

In many cases however, this natural grouping is broken in 
upon, for no other reason than simple physical convenience of 
utterance. Take for instance such a phrase as, The wo&ther — 
is dowdy ; we have two groups of easy utterance. Lengthen 
the last group by a monosyllabic adverb, and it still will have 
but one strong accent, e. g. The weather — is quite cloudy. But 
if the qualifying adverb is a polysyllabic word, and of consider- 
able length, it will require an accent on one of its syllables to 
give the word a unity, e. g. The wither — is extraordinarily 
cloudy. Now if we utter this last sentence with particular care 
in reference to making ourselves understood, the accent which 
we shall give to the syllable or, will be less strong than that on 
the ou of cloudy, and by taking breath beforehand, the two 
words will be uttered at one impulse, and be closely connected. 
They will thus form no exception to the law of grouping. But 
if the mind is in a more careless state, and we suffer ourselves 
to be influenced by mere bodily convenience, the accent on the 
adverb extraordinarily, may become equally strong with that 
on the adjective cloudy, and the two words may be dissevered 
from each other by a pause for convenience of respiration, or for 
rest on the part of the organs of speech. 

So too, the adverb may be emphatic, in which case it will be 
uttered with peculiar force and energy. In the case however, 



200 EXPOSITION OF THOUGHT. 

of emphatic force on the secondary parts of speech, it is not in 
fact the ordinary accent of nouns and verbs, by which they are 
made prominent. Instead of receiving this, they take on that 
higher energy, which on all words alike, distinguishes accent 
from emphasis. This will be considered in a subsequent 
chapter. 

It was also mentioned in part first, that these secondary words 
may be divided from those with which they group, by intervening 
words. E.g. The wither — is extraordinarily — and disagree- 
ably — cloudy. Or, The weather — is to-day — extraordinarily 
cloudy. It will readily however be perceived, that these cases 
form no true exceptions to the doctrines just stated, respecting 
the different strength of the two classes of accent. 

These last examples are likewise very instructive, in refer- 
ence to the way in which words are united into groups. In the 
latter, to-day interrupts the connexion between is and the sub- 
sequent words. This interruption causes is to be united with 
it, so that is to-day becomes in utterance, a polysyllabic word. 
The principle by which this takes place, is simply one of con- 
venience of enunciative effort, and has little reference to the 
meaning. Being unaccented, a pause cannot be made after it 
without causing it to receive an accent. But in the mean time, 
as to-day is an intervening circumstance, it is separated from 
the following words by a pause ; and a single pause answers the 
purpose as fully as if the circumstance were preceded as well 
as followed by one. So too, in the other example, the two ad- 
verbs extraordinarily and disagreeably are separated by a pause 
from each other, while the latter is separated from the adjective 
cloudy, by the same means. The result is, that both alike are 
shown to qualify the adjective, while at the same time one ad- 
verb does not qualify the other. Both these objects are effec- 
tually accomplished, although for convenience of utterance, is 
is inseparably united to the first adverb, while and is in equally 
close union with the second. 



PRINCIPLES OF GROUPING. 201 

The law of grouping, then, is the following. 

Words are of two classes ; nouns and verbs, which 
are strongly accented ; and other parts of speech, which 
are weakly accented. 

Words with no accent, or with a weak one, are if pos- 
sible, united to accented words, according to their con- 
nexion in meaning. 

But if they are separated by intervening words, they 
are united to the first subsequent word that has an ac- 
cent. 

Articles and adjectives must be united to nouns ; ad- 
verbs to verbs ; auxiliary verbs to their principals ; pro- 
nouns to verbs, (as nominative or objective cases;) a 
preposition to a word which it connects ; and a con- 
junction to one of the two words which it connects, or 
to the first accented word of the phrase to which it be- 
longs. 

Adjectives generally receive an accent equally strong 
with that upon nouns. If but a single adjective quali- 
fies a noun, it cannot (unless for emphasis) be separated 
from it by a pause. When an adjective intervenes be- 
tween an unaccented word and the noun to which it 
belongs, the unaccented word groups with the adjective. 

In the latter case, they all form one group, so far as a pause 
of meaning is concerned. In rhythm, they often form two 
groups, because they have two strong accents. 

In the following examples, the parts of speech in each group 
are indicated by abbreviations placed over the words. 

pr. aux. v. v. ad. pr. n. con. n. prep. n. 

They have united every rank and description of men, 

prep. art. n. prep. adj. pr. n. 

by the pressure of this swbject. 

18 



202 EXPOSITION OP THOUGHT. 

The next example is the same sentence, with the exception 
that the last group is divided into three, by the insertion of two 
adjectives. The separation of the two adjectives from each 
other, shows that both belong to the same noun. 

They have united every rank and description of men, 

prep. adj. pr. ad. con. ad. n. 

by the pressure of this grand and momentous subject. 

We will continue the same passage, and divide the words 
into the smallest allowable groups. For convenience of print- 
ing, we shall be compelled to divide the second phrase into 
three parts, and the last into two. This division, however, will 
be made by the voice, if the speaking is very slow and strong. 

con. pr. v. pr. 

And I tell them, 

pr. aux. v. v. 

they will see 

ad. pr. ad. con. ad. n. 

jevery honest and independent man 

prep. n. 

in Ireland, 

v. prep. pr. n. 

rally round her constitution, 

con. v. ad. pr. n. 

and merge every consideration, 

' prep. pr. n. 

in his oppos/tion 

prep. ad. pr. ad. con. ad. n. 

to this ungenerous and odious measure. 

These examples will be abundantly sufficient for illustrating 
the grammatical principles of grouping. We have taken pains 
to select such as admit of short groups, and such as have pauses 
of meaning between them. In some of the examples for prac- 
tice which we have already furnished, and in many of those 






PRINCIPLES OF GROUPING. 203 

which we shall hereafter present, much longer groups will be 
found. Groups of extreme length are indeed always divided, 
in the slowest and strongest speaking, into such small portions 
as we have now presented. When we do not so divide them, 
it is because rapid or very glowing delivery would be injured 
by thus breaking the close connexion. It must be remembered, 
however, that when two groups are united, though no absolute 
pause, or total cessation of sound may perhaps occur, yet the 
regular articulating and rhythmical pauses must come in. 
For the description of these, the student is requested to turn 
back before leaving this section, to p. 138, in the chapter on 
rhythm. In this part of our treatise we shall indicate mere ar- 
ticulating and rhythmical pauses, by a hyphen placed in a 
wider space between the words. 

To the statement that nouns and verbs take the strong ac- 
cent, there are certain exceptions, which need to be noticed. 
Many monosyllabic verbs of the most common occurrence, in 
very frequent instances, and especially in familiar and rapid 
delivery, take the weak accent. The same is also true of a few 
which have two syllables. These verbs are such as see, know, 
come, go, make, bring, put, seem, think, deem, &lc. — also, be- 
come, suppose, appear, and others. A few nouns likewise are 
often used in the same way. The principal are man and men. 
The first two phrases of our last example afford instances of this 
principle in reference to the verb see, and the noun man. We 
will reprint them with the grouping of rapid delivery. 

And I tell them 

\ 
they will see every honest and independent man in Ireland, 

But when groups are made of such length, the speaker's ar- 
ticulation is apt to be indistinct, unless he has well established 
habits of accuracy in respect both of articulation and rhythm. 
If, on the other hand, his habits in these respects are of the 



204 EXPOSITION OF THOUGHT. 

most perfect kind, the whole of this second phrase may be ut- 
tered with merely two articulating or rhythmical pauses and 
at one impulse of the voice. This may even be done without a 
hurried degree of rapidity. In impassioned argument or sen- 
timent, such fusing of the groups, when executed with perfect 
distinctness, often produces a glowing and captivating effect. 

As we shall explain, in a subsequent section, strong emphasis 
sometimes in glowing or vehement delivery, fuses groups to- 
gether and makes them very long. 

In the following example, the word defendant is used like a 
pronoun, and indeed the pron. he, might with propriety be sub- 
stituted for it. In the same example we have likewise the verbs 
forced and become, uttered with a weak accent, on account of 
the strong emphasis which follows each. 

\ 
Yes, gentlemen, 

\ 
the defendant has forced the press, 

\ 
to become the disturber - of domestic quiet. 

Groups that are grammatically subdivided by an articulating 
pause, we shall call compound groups. We shall distinguish 
them in the mode of printing, by employing a hyphen placed in 
a somewhat wider space. 

PHRASES OF UTTERANCE. 

We have seen that words are united into groups by two prin- 
ciples. First, they may be so essentially connected in gram- 
mar, that without such union each word of the group, except 
the accented one, would be destitute of meaning. Secondly, 
when such union is prevented by an intervening word or words, 
unaccented words are united to the first subsequent one that has 
an accent — this union being not grammatical, but rhythmical. 

It has also been seen that groups may be compounded, so 
that a considerable number of words are uttered with one im- 



PHRASES. 205 

pulse of the mind and voice, as if they were one extremely 
long word; the whole collection having a unity given to it, by 
the ardor of the mind in setting forth the relations of thought. 

On principles precisely similar, the union of groups forms 
phrases of utterance. The former being so far as utterance 
is concerned the words of discourse, their union into grammat- 
ical clauses forms phrases, which being considered each as a 
whole, are uttered with one continuous act. The reason for 
using the term phrase, instead of giving them the same appel- 
lation which they receive in grammar, is, that although a clause 
is always a grammatical whole, yet in delivery it may often be 
divided into two or more parts, for the sake of dwelling on each 
with a more earnest enforcement of its importance. 

We apply the term phrase, then, to such a portion of a sen- 
tence as is delivered with one earnest look, attitude and ges- 
ture, and with that tone of continuity in the voice which ex- 
presses a short course of thought, and one of such a kind, that 
the mind prepares for its utterance beforehand, and rests mo- 
mentarily after it. 

If the style of a discourse be faultless, and the delivery not 
only rapid and familiar, but without force or earnestness, the 
phrases of utterance will invariably coincide with the grammat- 
ical clauses of the periods. No matter how long these may be, 
each will be uttered with one continued progress of the voice. 
An instinctive effort will likewise be made to utter each during 
a single expiration. If breath be taken in the course of one 
of them, it will be done so quickly, that the reader or speaker 
will be unconscious of the act. 

It is this natural effort to read a clause at a breath, for the 
sake of exhibiting the meaning, that causes unskillful persons to 
complain generally of long periods as being fatiguing to read. 
Coleridge, when ridiculing the fashion prevalent in the latter 
part of the last century, for writing in very short periods, speaks 
of such styles of composition as being calculated for short-wit' 

18* 



206 EXPOSITION OF THOUGHT. 

ted intellects and asthmatic lungs. Unpractised readers, for 
the same reason, incline to read long clauses and sentences 
faster than short ones. 

One of the earliest things to be learned in reading or speak- 
ing, is to acquire the power of keeping the unity of clauses 
clearly and steadily present to the mind, while at the same time 
the physical act of delivery is rendered deliberate and easy, by 
pauses of such length and frequency, as prevent any degree of 
hurry or fatigue. It requires, however, considerable mental 
discipline, and at least some experience in delivery, to manage 
a composition written in a diffuse style and in periods of great 
length, in such a way that the sense shall be exhibited with 
perfect clearness, while at the same time the elocution shall be 
as deliberately slow and impressive as if the sentences were ve- 
ry short, and each with a full cadence at the end. Yet this 
skill must be acquired, and its acquisition is not so difficult as 
would at first be supposed. 

It is easy to acquire it, because nothing more is needed, than 
to practise in reference to written composition, what every one 
exhibits in conversation ; it being as essential to the very na- 
ture of language, as is the articulation of single words. The 
principles which form clauses are few and simple, and are ex- 
emplified by children as perfectly as by men of the most -com- 
prehensive intellects. Each clause generally begins with some 
connecting word, which at once indicates the grammatical ar- 
rangement that is to follow. The mind of the reader sets out 
at the beginning of the clause, with a clear apprehension of 
what will be the subsequent construction ; which construction 
continues till the end of the clause. Independent of punctua- 
tion, the end is shown by the very fact, that not until arriving 
at it, do the words of the clause form a complete construction. 
The next clause then begins with a similar warning to the mind, 
and so on throughout the whole course of the period. In this 
way, there is no real necessity — at least in the case of a well 



PHRASES. 207 

arranged style — for the moderns, any more than for the ancients, 
to depend on marks of punctuation. Neither is it necessary, 
as unpractised readers so often suppose, to read over the sen- 
tence beforehand, or to keep the eye several words in advance 
of those which the voice is actually uttering. The construc- 
tion of a sentence is always grossly incorrect, when in reading 
it, the mind is taken by surprise at the end, and finds the mark 
for a period when it had not anticipated one, or some grammat- 
ical arrangement different from what the previous part of the 
sentence had led the reader to expect. 

We have said that the mind is guided in anticipating the 
construction, by particular words (in most cases those which 
are called in grammar connectives, such as conjunctions and 
relatives) at the beginning of each clause. Often, however, it 
is not so much any particular word, as a very plain and obvious 
grammatical arrangement, which, even for the feeblest minds, 
needs no indicating word. This is the case with the great pri- 
mary division of all sentences into subject and predicate. The 
nominative independent with a participle, or case absolute, as 
it is more properly called, is also another instance, of perpetual 
occurrence. 

This general description of the manner in which the mind 
is infallibly guided in reading at sight, we have in most cases 
found sufficient for practical purposes, when perpetually illus- 
trated by the voice of the teacher. But in a work like the pre- 
sent, the most common and important, at least, of the gram- 
matical forms of clauses and phrases, ought to be enumerated 
and illustrated by examples. This we shall proceed to do. 
We must first, however, consider the question, what constitutes 
the distinction between a phrase and a group. 

Though as already mentioned, it is natural to endeavor to 
read the whole of any one clause, no matter what may be its 
length, with a single continuous effort of the mind and voice, 
yet convenience of utterance often requires them to be divided. 






208 EXPOSITION OF THOUGHT. 

Slowness and earnestness of delivery, likewise, will cause the 
mind to dwell upon the parts of a subdivided phrase, with a to- 
tal absorption for the time in the feeling of the importance of 
each — such an absorption as causes it, momentarily at least, to 
forget every part of the discourse except the portion that it is 
uttering. In correspondence with this state of the mind, an 
entire and complete effort of voice, breath, attitude and gesture, 
will be expended solely on this shorter portion. A single group 
may thus become an entire phrase. 

We find therefore, that the laws according to which short 
grammatical collections of words are to be considered phrases 
rather than groups, are not definite and invariable; depending 
as they do, on the degree of slowness and earnestness of the 
whole delivery, which are qualities incapable of being reduced 
to precise rules. The distinction is a physiological and not a 
grammatical one.* 

In some of the examples hitherto given, phrases have been 
subdivided for no other reason than the necessity of accommo- 
dating them to the width of a duodecimo page. In the present 
chapter, whenever a grammatical clause, strictly makes one 
phrase, yet on account of its length requires to be subdivided, 
the several phrases will be inclosed by a bracket. As a con- 
clusion, from the above remarks, we may define a phrase of ut- 
terance as follows. 

A phrase of utterance is an entire grammatical clause 
of a sentence, or such a portion of a clause as is uttered 
in a single prolonged act of delivery. 

A phrase may consist of a single group of words, or 
be made up of two or more such groups. 

* The case is similar in regard to the question, what length is allowa- 
ble for an entire line or verse in poetry? Even Hermann, after all his 
immense labor to reduce the laws of meter to a science, has not been 
able, in answer to this question, to refer to any more exact standard 
than the natural length of an expiration in breathing. 



PHRASES. 209 

The pauses and inflexions of the voice at the ends of 
phrases, separate them distinctly and definitely from 
each other. 

Each phrase has also throughout its whole course, its 
own appropriate and peculiar style of vocal modulation. 

When phrases are made up of distinct groups, the in- 
terruptions of vocal continuity which separate the groups 
from each other, are not as strongly marked as those 
which occur at the end of phrases. 

The actual pauses, or total cessations of sound, which 
take place between groups, may always in rapid deliv- 
ery be omitted, or changed into mere articulating and 
rhythmical pauses. 

Subdivided clauses, may in the same way be united 
into a single phrase, by a change in the style of delivery. 
But as long as the delivery continues in the same style, 
phrases must never be united together, though it is al- 
lowable to do so in the case of groups. 

A correct delivery of phrases depends on care and in- 
tentional effort of the mind, at the time of uttering the 
phrase. 

But grouping is a general habit in delivery, which re- 
quires no particular care after the habit is formed. 

The mind of a reader or speaker, is guided in divid- 
ing sentences into phrases, by plain and obvious gram- 
matical constructions, the neglect to observe which, 
would prevent the sentence from conveying any mean- 
ing. 

At the beginning of most phrases, a warning is also 
given by the occurrence of some word, which indicates 
that a new phrase is coming, and likewise shows what 
will be its construction. Whenever no such warning 



210 EXPOSITION OF THOUGHT. 

word occurs, the construction is always (if the style be 
correct) so obvious as to need none. 

We now proceed to describe and exemplify the most com- 
mon and important grammatical constructions which charac- 
terize clauses, and which guide readers and speakers, in pro- 
ceeding by successive steps of phrases of utterance. 

The first and most common, is the fundamental one 
of subject and predicate. 

This has been abundantly exemplified in the first part of the 
volume, for the purpose of simplifying the general explanation 
of Emphasis. Instead of furnishing additional examples in this 
place, it will be better to refer back to pp. 109 to 112, where 
the divisions are exclusively in accordance with this distinction. 
In most of those examples, each subject and each predicate 
forms a phrase by itself. Sometimes however, the subject is 
merely a pronoun, in which case it is grouped with the first ac- 
cented word of the predicate, and the whole forms a phrase. 
On p. 112, are examples of subj. and pred., being equally em- 
phatic, and when each is short, the sentence is printed in one 
line. Such lines however, are strictly composed of two phrases. 
Yet if the subject does not form a phrase by itself, it always 
constitutes a distinct group, unless it is a pronoun, or a repeated 
noun used as a pronoun. An example of the last case has been 
lately furnished in the section on grouping, at p. 204. 

The question whether the pause between the subject 
and predicate is sufficient to constitute them distinct 
phrases, of course depends on either the length or the 
importance of the one or the other. 

If the subject is very long, or is emphatic, it forms a 
distinct phrase. The same principle applies to the 
predicate. 



SUBJECT AND PREDICATE. 211 

The first two lines on p. 110, will make one long phrase, or 
will be divided into two, according to the degree of deliberate 
force and earnestness of the delivery. The remainder of the 
extract furnishes two instances of short predicates, which will 
in a similar manner be uttered in the same phrase with their 
subjects, unless the delivery be very slow. In this way, the 
whole extract may be uttered in six phrases, as there presented, 
or, more rapidly, in three. 

The division between these two essential parts of every sen- 
tence may exist under forms of construction different from the 
common one to which we have just referred, and with various 
connecting words. Yet these differences are attended with no 
difficulty in regard to immediate apprehension. We will illus- 
trate the following cases. 

It frequently happens that the predicate clause of a 
sentence has the pronoun it for its immediate subject, 
while the true subject follows in a succeeding clause. 

In most such cases the second clause either begins with the 
conjunction that* or commences with an infinitive mood. In 
the following example, the second and third phrases are subjects 
commencing with that. 

< Let it be once understood, 

!that your government may be one thing, 
and their privileges another ; 
, [tion. 

< that these two things may exist - without any mutual rela- 



* We call the word that a conjunction in this ami other such cases, in 
accordance with ordinary school grammar. So throughout the whole 
work, we employ none but the most common grammatical terms. Pred- 
icate instead of attribute, is now established in schools. 



212 EXPOSITION OF THOUGHT. 

In the following example, the first phrase is a suspending 
clause ; the second is the predicate, and the third and fourth 
are subject clauses, commencing with the infinitive mood. 

( Had Cromwell's ambition 

( been of an impure, or selfish kind, 

•! it would have been easy for him, 

, [large scale, 

\ to plunge his country into continental hostilities, on a 

and to dazzle the restless factions - which he ruled, 

by the splendor - of his victories. 



{ 



Macaulay. 

, [by crimes, 

< Does it become the duellist, whose life is measured out 

{to be extreme to mark, and punctilious to resent, 
whatever is amiss in others? 

Suspending clauses are among the most common 
forms of phrases. They take two forms ; either that of 
the case absolute with a participle ; or that of clauses be- 
ginning with suspending conjunctions or adverbs, such 
as if, although, when, while, notwithstanding, as long as, 
and numerous others. 

These clauses often require to be subdivided according to 
the distinctions of subject and predicate, circumstance, and 
other principles by which whole sentences are divided. When 
they are long, their very length often produces a rhetorical ef- 
fect of giving great animation and force; a striking instance of 
which may be observed in the extract on p. 46, beginning with 
" instead of a long and bloody war," &x. 

d 






CIRCUMSTANCE. 213 

The following example exhibits a clause formed by the case 
absolute. Each of the phrases contains a subject and predicate 
of its own. 

The campaign being ended, 

the two - contending - armies retired - from the field. 

The next exhibits a clause introduced by a suspending ad- 
verb. It will be observed that the third phrase is the true sub- 
ject of the second, according to the principle we have last illus- 
trated. 

Until public opinion be propitiated, or satisfied, 

it is in vain for power, 

to talk either of triumphs or of repose. 

Webster. 

A very gommon principle in the formation of separate 
phrases, is that of a clause expressing a circumstance. 
Such generally begin with a preposition. 

The following passage consists of three sentences, each be- 
ginning with a circumstance taken out of the predicate and 
placed first. The next example is of the same construction. 
The phrases which consist of a circumstance, will be marked 
by the letter c. 

c. Under what other auspices than Christianity, 

have the lost - and subverted - liberties - of mankind, 
in former ages, been reasserted ? 

c. By what zeal, but the warm zeal - of devoted Christians, 

have English liberties 

been redeemed and consecrated 1 
19 



214 EXPOSITION OF THOUGHT. 

c. Under what other sanctions, 
c. even in our own days, 

have liberty - and happiness 
f been extending - and spreading, 
to the utmost corners of the earth 1 



Erskine. 



c. By doing - our several duties in our allotted stations, 
we are sure - that we are fulfilling the purposes - of our 

[existence. 
Erskine. 

The following sentence begins and ends with a phrase ex- 
pressing a circumstance. 

c. With such encouragement, 

how inexcusable is the negligence, 

which suffers - the most interesting - and important - truths, 

to seem heavy and dull, 

and fall ineffectual, to the ground, 

c. through mere sluggishness in their delivery. 

Ware. 

Tn the following passage, the clauses of circumstance are of 
such frequent occurrence, as seriously to clog the flow of the 
whole, 

c. From all these symptoms, 

Columbus was so confident of being near land, 
c. that, on the evening - of the eleventh - of October, 
c. after public prayers - for success, 



CIRCUMSTANCE. 215 

he ordered the sails to be furled, 

and strict watch to be kept, 

lest the ship should be driven ashore, in the night. 

c. During this interval - of suspense - and expectation, 

no man shut his eyes ;\ 

all kept upon deck, 

f gazing intently 

[the land, 
c. i towards that quarter where they expected - to discover - 

L which had so long - been the object - of their wishes. 
c. About two hours - before midnight, 

Columbus, 
c. standing on the forecastle, 

observed a light, at a distance, 

and privately pointed it out to two of his people. 

Dr. Robertson. 

Note. — In giving the above illustrations of phrases formed by a cir- 
cumstance, it has been thought inexpedient to carry the analysis farther. 
Upon strict grammatical principles, every clause of this kind, is a part 
either of the general subject or predicate. In the last example, two of 
them belong to the subject, and the remainder to the predicate. If how- 
ever, we distinguish with still more accuracy, the two which belong to 
the subject, beginning as they do with a participle, are not circumstan- 
ces, but are, in fact, qualifying clauses. 

Another grammatical principle of phrases, is that of 
clauses which express the object of an active verb. 

These mostly take two forms ; first, they begin with the con- 
junction that; secondly, they commence with an infinitive 
mood. The examples will illustrate both kinds. 



216 EXPOSITION OF THOUGHT. 

In the following example, the second clause, beginning with 
the conj. that, is the object of the active adverb say, in the first 
clause. 

< For myself, I can truly say, 
that, after my native land, 
I feel a tenderness and reverence 

L for that of my fathers. 

In the next, the second, third and fourth clauses, beginning 
with the infinitive mood, are the objects of the active verb re- 
quest. 

1 Let me request you 

<j to rely on the plighted faith of your country, — 

< to place a full confidence in the purity - and intentions - of 
*• [Congress, — 

and to assure yourselves 

that they will adopt the most effectual measures - in their 

[power, 
to render ample justice to you, 

for your faithful and meritorious services. 

In this last example, the second line of the fourth phrase, be- 
ginning with that, is another instance of the same principle, 
being the object of assure in the preceding line. 

But without any different construction, long predicates are 
often subdivided into two phrases, on the principle of separating 
the object of the active verb. 

This must always be done when the objective case has a 
qualification appended to it by a relative ; as in the following : 



aptosition. 217 

This reasoning exposes to scorn, 

every argument which would confound - indictments - with 

[civil actions. 

In the following sentence, there is an inversion of the com- 
mon order of arrangement; the first compound phrase, begin- 
ning with how, being the object of the active verbs of the two 
last phrases. 

It will be observed also, that in subdividing the compound 
phrase, the second line is the object of vindicate in the preced- 
ing one. The three lines within an inner bracket, are a com- 
pound circumstance, having the division of subj. and pred. for 
the last two lines. 

How - any man can rationally - vindicate 

the publication - ofsuchabook - as Paine's Age of Reason, 

in a country 

where the Christian religion, 

is the very foundation - of the law of the land, 

«j I am totally - at a loss to conceive, 

i and have no wish - to discuss. 

Erskine. 

Another common principle is that of apposition. This 
also will often be indicated by that as a conjunction. 

In the second phrase of the following example, we have the 
word affidavit as an object of the verb made. In apposition 
with it, we find the third, fourth and fifth compound phrases 
each beginning with that. 

19* 



218 EXPOSITION OP THOUGHT. 

i Three of the jurors 

■j made solemn affidavit, in court, 

< that liquor had been conveyed - into their box;\ 

that they had been brutally threatened, by some of their 

[fellow jurors, 
with capital prosecution, 

if they did not find the prisoner - guilty ; 

and that, under the impression of those threats, 

and worn down by watching and intoxication, 

they had given a verdict of guilt)/ against him, 

though they believed him in their conscience, 

to be innocent. 

Currant. 

In a rhetorical style, however, one of the most common modes 
of putting clauses in apposition, is that of repeating the same 
word and following it with a similar construction ; as is exempli- 
fied by the repetition of all in the first two phrases of the follow- 
ing passage. 

The second phrase is subdivided by the two qualifications of 
the noun minds. The third, fourth and fifth phrases are quali- 
fications of all, &c, in the first phrase. The last two lines 
make separate phrases, for the sake of impressiveness in winding 
off the period. 

Thus you find all that is great, or wise, or splendid, or il- 
lustrious, amongst created beings, 

f all the minds gifted beyond ordinary nature, 

i if not inspired, by their Universal Author, for the advance- 
[ [ment - and dignity - of the world, 



PARALLEL CONSTRUCTION. 219 

though divided by distant ages, 

and by the clashing opinions distinguishing them - from 

[one another, 
yet joining, - as it were, in one sublime chorus, 

to celebrate - the truths - of Christianity ;\ 

and laying - upon its holy altars, 

the never fading offerings of their immortal wisdom. 

Erskine. 

A parallel construction, which is generally indicated 
in punctuation by a dash, is occasionally a principle of 
phrases. 

The grammatical arrangement may be that of apposition, 
either of subject or object ; or it may exhibit an ellipsis. Vide 
pp. 56, 57. 

The following shows an ellipsis in the last two phrases. 

The infidel has no conscience — 
no hope to cheer him — 
no punishment to dread. 

The next illustrates apposition. 
Upon this, and this only, 

that he believes there is a just and omnipotent God — 
an intelligent supreme Existence. 

In this example, the second phrase is in apposition with the 
first, and the third with the second. Vide pp. 56, 57. 

It will be noticed that many of our examples are from Ers- 
kine, the most magnificent orator of the English bar. His 
style is an admirable illustration of the most natural construction 
of periods, in glowing extemporaneous delivery. It is a total 



220 EXPOSITION OF THOUGHT. 

mistake to imagine that free extemporaneous speaking naturally 
runs in short periods. We will conclude the chapter with a 
splendid passage, which consists of a single sentence built up by 
successive phrases perpetually varying in length, and united by 
the simplest and most obvious constructions. 

At a time when the charges - against Mr. Hastings 

were, by the implied consent - of the Commons, 

/ 

ta in every hand, and on every table; — 

when, by their managers, the lightning - of eloquence 

was incessantly consuming him, 

/ 
and flashing - in the eyes - of the public; — 

' when every man was, with perfect impunity, 

saying, and writing, and publishing, 

just what he pleased, 

/ 
I of the supposed plunderer - and devastator - of nations; — 

\ 
would it have been criminal in Mr. Hastings - himself? 

to have reminded - the public 



3^ 



\ 
that he was a native - of this free land, 

\ 
entitled - to the common protection - of her justice, 

\ 
and that he had a defence, in his turn, to offer to them,\ 

the outlines - of which 

/ 
I he implored them, in the meantime, to receive, 



INFLEXIONS. 221 

f as an antidote to the unlimited and unpunished poison 

circulation - against him. 

Erskine. 



I in 



In the above, the commencement of each of the first three 
phrases is indicated by the word when — at the beginning of the 
fourth, we instantly notice the discontinuance of the repetition 
of when, and commence the interrogation — the relation of the 
fifth clause to the fourth is indicated by the infinitive mood — 
the relation of the sixth is shown by the conj. that — the seventh 
is in a construction of parallelism with the sixth ; entitled agree- 
ing with native — the relation of the eighth is indicated by its 
two conjunctions — the ninth is connected by a relative — the 
tenth by a conjunction. 

Guided by such connecting words and constructions at the 
beginning of each clause, the mind of a reader instinctively di- 
vides periods of every description into their constituent phrases 
of utterance. — 



CHAPTER II. 

INFLEXIONS . 



In analyzing the mental acts which take place in utterance, 
we have found that after conceiving words, and employing them 
in groups, the next step is to proceed by phrases; each of which 
forms the whole, or a constituent division of a grammatical 
clause. 

These phrases are the actual weapons, so to speak, by which, 
in delivery, we operate on the minds of auditors. Each con- 
veys a combination of ideas, or a brief course of thought, which 
possesses a true unity, and makes but a single impression on 
the mind. 



222 EXPOSITION OF THOUGHT. 

Grammatically considered, their relations to each other are 
indicated by connecting words, and by constructions which are 
essential to the very existence of language. But in addition to 
these, spoken language has certain modifications of the voice, 
which still farther explain the mutual relations of thought. 
Such modifications are called inflexions. 

This term has been understood to designate certain upward 
and downward turns of the voice in pitch. But when first in- 
troduced as a technical term, the actual changes of pitch which 
take place in utterance, had been but imperfectly analyzed ; 
consequently its application has been, even to the present pe- 
riod, so vague and uncertain, that in a scientific analysis, like 
that of Dr. Rush, it deserves to be wholly rejected. The ear- 
lier writers did not know that each syllable of a word has a sep- 
arate and independent pitch. They supposed that an entire 
polysyllabic word slides up or down by a continuous progress. 

For a detailed refutation of this fundamental error, we must 
refer to the works of Dr. Rush, or Professor Day. The plan of 
the present treatise being chiefly to explain the natural impulses 
and tffiufibs of the mind, in communicating thought, a complete 
vocal analysis is unnecessary. In continuing to proceed on 
this plan, it will be convenient to retain the use of the establish- 
ed term inflexion. 

Our present subject is very extensive, comprehending no less 
than all the turns of voice, which may be employed to express 
the relations between ideas contained in different clauses of the 
same sentence. The methods by which ideas may, by inflex- 
ions, be connected, contrasted and stated in reference to each 
other, are even more numerous, than the variations in these re- 
spects, which may be effected by employing different connecting 
words and grammatical constructions, great as is the number of 
these. 

In very many cases, it is not by changing its grammatical . 
construction, that the wording of a sentence can be made to f 



INFLEXIONS. 223 

supersede the necessity of inflexions. To accomplish this ob- 
ject, additional and explanatory words must be introduced. If 
these are carefully selected and are sufficiently numerous, it is 
indeed possible to supersede all necessity of explanatory inflex- 
ions ; but the style of composition will by this process, be liable 
to become too diffuse and full. What the celebrated critic Jef- 
frey calls a written style, is distinguished chiefly by having less 
necessity for inflexions than the more elliptical and irregular 
construction of extemporaneous oratory, of conversation, and of 
the drama. 

It is obvious that a discussion which should undertake to ex- 
haust the subject of inflexions, would require an entire vol- 
ume, rather than a single chapter. 

Rules for invariably appropriating particular inflexions to 
certain grammatical combinations, are worse than useless. Not 
an example can be found in any of the older books of elocution, 
which may not with propriety be read in a manner opposite to 
that which is directed. All that is necessary for so doing, is 
for the reader to present the idea conveyed by the example, in a 
different light from that contemplated by the constructor of the 
rule. 

It would seem at first sight, as if rules for inflexions ought no 
more to be needed in reading or speaking, than in conversation. 
If we understand passages aright, and make instinctive efforts 
to convey our apprehension of them to others, our voices (if not 
fettered by previous bad habits) will as infallibly make use of the 
required inflexions, as our articulating organs will enunciate 
the words. 

Still farther, it is no more necessary for us to know what pre- 
cise changes of pitch our voices exhibit in any one inflexion, 
than in the case of articulation, to watch the minute changes 
of position made by the lips, teeth and tongue. 

But as the same objections are applicable, in a greater or less 
degree, to giving information in regard to other instinctive acts 



224 EXPOSITION OF THOUGHT. 

which occur in delivery, and as without some analysis of these, 
there can be no study of elocution, it will be necessary to pre- 
sent a general account of inflexions, upon the plan of treatment 
pursued throughout the volume. Still we shall avoid laying 
down precise and invariable rules. 

In our examples for practice, we have from the first employ- 
ed the marks commonly used for indicating inflexions, because 
some guide is necessary for purposes of practice, and to enable 
the student to go along readily with the teacher. Many how- 
ever have been inserted, rather in accordance with the custom 
of other books of elocution, and to prevent possible mistakes, 
than because they are strictly necessary. Experience in using 
the volume may hereafter lead to an omission of a considerable 
number. 

When a mark of inflexion is put over a word, it indicates the 
general effort of the mind and voice upon the word, or upon the 
phrase in which it occurs, rather than the exact degree of rise 
or fall in pitch. The latter cannot be exhibited to the eye, ex- 
cept by a notation, which like that of music, exhibits the pitch 
of each separate syllable, — while even this will not of itself be 
sufficient. In music, notes do not often slide up or down, to 
an extent that is deserving of regard. But in speech, each syl- 
lable not only begins with a distinct and independent pitch, but 
after having thus begun, has always a slide. The slide may be 
either simply up or down, or may be first in one direction and 
then in another. Still farther, the distance to which the slide 
may rise or fall, is of several distinct degrees, each of which 
conveys a separate meaning or expression. 

In short, an inflexion is a change in pitch, in which 
the voice first skips up or down, and then slides up or 
down. 

The skip may be to several different distances, and so 
may the subsequent slide. 



FALLING INFLEXIONS. 225 

The slide may likewise be first in one direction, and 
then in the other ; thus producing what are called waves 
or circumflexes. 

This waving course may even be continued through several 
repetitions of upward or downward progress. 

Thus the actual number of inflexions employed by the voice, 
is very great. Instead of three, as formerly supposed, there can 
scarcely be less than three hundred. 

It will be easy however, to reduce them for practical purpos- 
es, to three classes, and it is to a class, rather than to any one 
of the variations of pitch, that we apply the term inflexion. 

Inflexions, then, are of three kinds : 1. rising ; 2. fall- 
ing ; 3. falling and rising, or circumflex. 

This old classification, does in truth correspond to the dis- 
tinctions which we recognize in our minds, and to the instinctive 
vocal efforts which we make to set forth the relations of ideas. 

The explanation of them will be rendered more readily in- 
telligible, if we begin with the falling inflexions. 

FALLING INFLEXIONS. 

As a principle is often best illustrated by an extreme case, 
we will commence explaining the general class of falling inflex- 
ions, by a description of Cadences. 

Every one knows that a cadence at the end of a sentence, in- 
dicates a close of the course of thought; and that after it there 
is always a pause, and an interruption for the time, of the on- 
ward progress of the mind. 

This interruption or check, is the true principle of every fall- 
ing inflexion. For the present, however, we shall speak only of 
cadences, and of inflexions at the ends of phrases. 

In every case of a falling inflexion on a strongly emphatic 
word, there is at least a mental pause ; and if the delivery is very 

20 



226 



EXPOSITION OF THOUGHT. 



slow and forcible, a vocal pause will also become strikingly 
manifest. If the vocal pause does not come in immediately at 
the end of the word which receives the inflexion, it will still 
occur at the end of the group, or at farthest, of the phrase. 

When a falling inflexion is used, the mind ceases for the 
time being to look forward, and to employ ideas solely in refer- 
ence to subsequent ones. 

Either a simple close or termination of a course of thought, 
and its independence of what is to follow, is indicated ; or the 
truth and importance of an idea, is affirmed and particularly 
pointed out. 

In the latter case, the voice always leaps up to a higher pitch 
on the accented syllable, so as to make the falling inflexion be- 
gin from a higher point. 

We have thus, at the ends of phrases, two kinds of 
falling inflexions ; one, moderate and quiet, and which 
conveys no impression but that of simple termination of 
thought ; the other, striking, and calculated particularly 
to attract the attention of the listener. 

This will be best illustrated by a single example, read or spo- 
ken in different styles. Let us take the first sentence in our 
first extract, (p. 45.) 

"I make the assertion deliberately." \ 

Here the mark for the falling inflexion, placed after the word, 
indicates a mere cadence, such as any one will naturally make 
when the full stop occurs in punctuation. If the delivery is 
impressive or solemn, and the word "deliberately" is uttered 
with great earnestness, yet without a striking and peculiarly 
animated tone, it will still keep the same pitch, but will be 
dwelt upon in such a way as to prolong the syllables and make 
the articulation particularly distinct. The tone of voice will 
be strong and heavy. For our immediate purpose, we may in- 
dicate this by the following mode of printing: 



FALLING INFLEXIONS. 227 

I make the assertion deliberately. \ 

But if the same word be uttered with striking animation, and 
especially if with lively earnestness, the accented syllable will 
begin on a higher pitch. The falling inflexion will start from 
a higher point. Thus : 

\ 

I make the assertion de erately. 

This style of utterance may also be united with emphatic 
force — that is, with a sudden loudness and an expulsive utter- 
ance, such as we have already explained in part first, chap. 6. 
This we may represent by printing the word in italics, but with 
the same arrangement of its syllables. 

\ 
I make the assertion de l erately. 

This mode represents the course of the voice in emphatic fall- 
ing inflexions. But as it would be inconvenient and unsightly 
to print whole examples with such a displacement of the sylla- 
bles, we indicate such forms of emphasis simply as follows : 

\ 

I make the assertion deliberately. 

That is, the word is printed in italics, to indicate emphatic 
force, while the mark for the falling inflexion is placed over the 
word, and (as nearly as convenient) over its accented syllable. 

If capitals are employed instead of italics, they indicate a still 
higher degree of force, earnestness and slowness. 

Some examples however, have the falling inflexion placed 
over a word which is not in italics or capitals. This indicates, 
that although the word is not distinguished by any considerable 
degree of force or loudness, yet it is uttered with a lively, or 
peculiarly pointed expression, by beginning its accented sylla- 
ble on a higher pitch, as we have just explained. 

So far, then, we have two extremes of the falling inflexion ; 
one, that of a common cadence — either impressive and earnest, 



228 



EXPOSITION OF THOUGHT. 



or quiet and moderate, which we indicate by placing the mark 
of inflexion after the word ; the other, either simply striking, or 
striking and with emphatic force, which has the mark placed 
over the accented syllable. These are the most common and 
important uses of the falling inflexion. 

There is however, still another modification, which expresses 
an important distinction, and which is easily represented in 
printing. It is when a short and yet lively and animated ca- 
dence is to be made at the end of a clause, but before the en- 
tire sentence is finished. In such situations, a cadence of some 
sort is demanded, yet if the voice is suffered to descend as low 
as in a full cadence at the end of a complete period or para- 
graph, the effect will be to divide the whole into two separate 
sentences. This error will not indeed affect the meaning, yet 
it will injure the expression and seriously detract from the cor- 
rectness of the composition, so far as this is judged by the ear. 

The following example consists of two separate sentences, 
united by the conjunction and, and with a semicolon between 
them. 

It is to the genius - of James Watt, 

that all the benefits - of the steam engine 

r \ 

are mainly owing ; 

and certainly no man 

ever before, 

bestowed such a gift on his kind. \ 

Jeffrey. 

In this example, it is obvious that the cadence at the semi- 
colon, ought not to be as low as that at the full stop. In fact, 
the word owing ought to be a little higher than the preceding 
word. This cadence on a higher key is indicated by placing 
the mark of inflexion over the word, yet not over its accented 
syllable. 



FALLING INFLEXIONS. 229 

Thus at the ends of phrases or sentences, the mind ex- 
presses the close of a course of thought, and its inde- 
pendence of what follows, by falling inflexions,, either 
high and animated, or low and quiet or impressive. 

High and animated cadences are represented by pla- 
cing the mark for the falling inflexion over the accented 
syllable of the final word or group. 

Those that are low, and quiet or impressive, have the 
mark after the last word. 

Cadences on a high pitch, and occurring in the middle 
of a sentence, have the mark over the word, but not over 
its accented syllable. 

This sort of cadence is often required also at the end of a very 
short sentence, when although pointed with a full stop, it has a 
close connexion in thought, with the succeeding sentence. 

If the word on which the cadence falls is emphatic, 
the emphasis is indicated by italics or capitals. 

But in a large proportion of cases, it happens that a falling 
inflexion is required on a word that does not stand last in the 
grammatical clause, or even in the phrase. 

In such cases however, the principle is precisely the same. 
The mind points out the word so particularly to the attention 
of the hearer, that its onward progress is at least checked, if not 
altogether interrupted. This is done, although the actual pause 
may not occur until the end of the group, or perhaps of the 
phrase. 

But falling inflexions not at the end of a phrase, are 
never given, except upon emphatic words. This impor- 
tant fact makes their theory easy of apprehension. 

Almost every case of a falling inflexion on an emphatic word 
may be referred to the principle of pointed designation. The 

20* 



230 EXPOSITION OF THOUGHT. 

reader or speaker affirms the truth of what is uttered, and par- 
ticularly points out the most important word in the whole series. 

Hence, answers to questions are given with falling inflexions. 
In argument, the same inflexion is given on what is affirmed. 
So likewise, in narrative, all the most important circumstances 
are pointed out by the same means. 

Emphatic words with the falling inflexion, are naturally ac- 
companied, in gesture, by the downward stroke of the arm. If 
we reflect a little on that sort of mental pause, and that stopping 
momentarily, to dwell on the truth and importance of an idea 
which we enforce with this gesture, such reflection will contrib- 
ute still farther, to make the true significance and intention of 
the falling slide of the voice clearly intelligible. 

The truth and completeness of the above short theory of the 
falling inflexion on emphatic words, will be exemplified by the 
following extracts, especially if they are supposed to be spoken 
rather than read, and each emphasis to be accompanied by its 
appropriate gesture. 

They tell us, Sir, 

\ 
that we are weak, — 

\ 
unable to cope with so formidable an enemy. \ 

\ 

I know there is not a man here, 

\ 
who would not rather see a general conflagration sweep over 

\ [the land,\ 

or an earthquake sink it,\ 

\ 
than one jo* - or tittle 

of that plighted faith, 

fall to the ground. \ 



FALLING INFLEXIONS. 231 

\ 

I hear much said of patriotism, 

\ 

appeals to patriotism, 

\ 
transports of patriotism . \ 

Gentlemen, 

\ 

why prostitute this noble word ?\ 

There are some cases, however, of falling inflexions, which 
may seem not so readily explicable by the above simple, yet 
comprehensive account; such as when they are employed to 
express command, exhortation, rebuke and contempt. The 
following are examples. 

\ \ 

Come ; let us go. 

\ 

This fellow had a Volscian for his mother ;\ 

\ . \ 

his wife is in Corioli ; 

\ 
and this child, 

\ 

like him by chance. 

Shakespeare. 

Astonishment, surprise, wonder and admiration, express 
themselves also by strong falling inflexions. E. g. 

\ 

I am astonished! 

\ 

shocked t 



to hear such principles confessed. \ 

\ 
How wonderful, 

that a nation should be thus deluded !\ 



232 EXPOSITION OF THOUGHT. 

But a little reflection will enable us readily to perceive, that 
in uttering such emotions, the mind pauses and stops to con- 
template the ideas which excite them. The expression how- 
ever, of emotion and passion, is never given by inflexions mere- 
ly. Additional variations of the voice in stress and quality of 
lone are required, and these must, in general, be left to the 
promptings of feeling. 

RISING INFLEXIONS. 

In these the voice slides upwards: and as the direction of 
their slide is precisely opposite to that of falling inflexions, so 
their significancy, and the use which the mind makes of them, 
are of a contrary nature. 

As falling inflexions either express the termination of a course 
of thought, or an interruption of the mental act of looking for- 
ward to other ideas, so the rising imply that no complete sense 
has yet been made, or that the mind does not stop to contem- 
plate an idea independently of some other. 

A rising inflexion, then, expresses a continuation of thought, 
and gives warning that something more is to follow. Or, if 
given emphatically on a single word in the middle of a phrase, 
it indicates that the idea is contemplated not by itself, but in 
reference to something else. 

Inflexions of this class are thus of much more frequent oc- 
currence than the others. At the far greater part of the pauses 
in discourse, the interruption of continuity is principally for 
mental and physical convenience. As the mind proceeds in 
building up the structure of a long sentence, it rests after short 
portions of its work, and when about to pause, leaves off with 
an upward turn of voice, to indicate that the sense is still sus- 
pended, and that more ideas are to follow. 

In illustration of this suspensive expression at a pause, take 
the following two clauses, which are connected into a single 
sentence by the conjunctions as and 50. 



RISING INFLEXIONS. 233 

/ 

As face answereth to face in water, 
so the heart of man to man. \ 

The moment a reader begins this sentence, the conjunction as 
warns him that the clause which it introduces, will make no 
complete sense of itself, but will require to be followed by an- 
other one beginning with so. He will therefore avoid making 
a cadence at the end, and will leave the sense suspended by a 
rising inflexion.* 

Since, then, rising inflexions of some sort occur at every 
pause in which no complete sense is made, and these pauses 
are by far the most numerous, it is obvious that to mark them 
all would create unnecessary confusion to the eye. Yet this 
error is quite prevalent in books for instruction in reading. As 
already observed, we have probably marked too many in our vol- 
ume. Yet when not required for expression, most of them have 
been placed in situations in which unpractised readers might 
be liable to make mistakes. Sometimes also they have been 
inserted to show the antithetical balance of one phrase with an- 
other, and to assist in apprehending the rhetorical structure of 
the style. 

The directions sometimes given in books for schools, which 
imply that the common marks of punctuation are guides for in- 
flexion, are extremely injurious. In accordance with habits 

* We have uniformly avoided laying down any rules of reading, as 
absolutely invariable. Falling inflexions may in almost every case be 
substituted for rising ones, when particular styles of expression require 
it to be done. In the above example, suppose the mind wishes to point 
out in a manner calculated to attract particular attention, the illustration 
of face answering to face in water, the reading will then be with a falling 
inflexion on water, but with an upward skip on the accented syllable. 
This upward skip, in such a case, answers the purpose of the upward 
slide of a rising inflexion, at the same time that the downward slide de- 
signates the importance of the word water. 



234 EXPOSITION OF THOUGHT. 

thus formed, the reading proceeds with an upward turn of the 
voice at every comma. Thus most of the sentences, in every 
variety of style, will be read in violation of their real meaning, 
and if the listener understands them at all, he does so by a pro- 
cess of correcting the reader's errors and explaining the sense 
to himself. He either substitutes inflexions different from those 
which he hears used, or, more commonly, imagines that he sees 
the words before him, and thus gathers the meaning, as it were, 
by the eye. Though many errors result from making the 
marks of punctuation exclusive guides for pauses, yet such are 
few, compared with what proceed from using them as direc- 
tions, not only for these but for inflexions. 

It is obvious that there can be no necessity for entering into 
a detailed examination of the various forms and degrees of con- 
nection which demand rising inflexions. No farther directions 
are needed for practical purposes, than the following. 

In reading let the mind be on the watch for places in 
which a falling inflexion is demanded. 

These will be required, first, to direct the attention of 
the hearer to the completion of a short course of thought ; 
secondly, to point out particular words, the assertion or 
inculcation of which is of especial importance. 

In all other cases, let rising inflexions occur naturally 
and unconsciously. Even when a prolonged rising in- 
flexion is demanded on a single emphatic word, it will 
be natural for the voice to slide upwards rather than 
downwards, unless care be taken to the contrary. 

To use familiar language, rising inflexions will take 
care of themselves. 

The employment of falling ones, results always from intelli- 
gence on the part of the reader or speaker, and from an inten- 
tional effort to affirm and explain ideas to others. 



RISING INFLEXIONS. 235 

In the early attempts of children to read, and in their decla- 
mation of passages committed to memory, all their inflexions 
are rising, and it is with extreme slowness that they learn to 
explain and designate ideas to others by means of affirmative 
falling slides. In teaching a child to read or speak, exclusive 
attention should be given to such falling inflexions as designate 
the meaning. 

In some form or other, and at some previous period, a prac- 
tical skill in reading must have been gained, even by the oldest 
students of delivery, before attempting to speak what has been 
committed to memory. If this order of study be not observed, 
declamation will proceed with an unvarying succession of ri- 
sing inflexions, which convey no other impression than that of 
a mere recollection by the declaimer, of the successive words 
and clauses of his speech. 

Yet there is an important class of cases in which, although 
a period is the appropriate mark of punctuation, arising inflex- 
ion ought to be used at the end of the sentence. 

These are when the sentence requires to be uttered in refer- 
ence to something else, either expressed or understood. Let us 
take for exemplification, the following conversational sentence : 

It is not very probable, 

/ 
that so fair an offer will be rejected. 

If this be uttered as a simple declaration, it will end with a 
cadence. But if spoken in a lively manner, and with reference 
to a contrary opinion or idea, viz. that it is supposed that "so 
fair an offer" will be rejected, or if regard be had to rejecting 
instead of accepting so fair an offer, the inflexion at the end 
will be a rising one. 

The reference in cases of this class, is always to something 
opposite or different, which the mind is looking forward to, or 
at least thinking of, at the time. Very often it is some contra- 
ry opinion which is generally prevalent. At other times, refer- 



236 EXPOSITION OF THOUGHT. 

ence is made to something which either has been said, or which 
it is intended shall immediately follow. In some instances al- 
so, a succession of several very short sentences is rendered 
more lively and more closely connected in meaning, by ending 
one or more with a rising inflexion, and thus uniting them as 
much as possible into one train of thought. 

For such reasons common conversation, unless very grave 
and formal, is remarkably distinguished from reading and speak- 
ing, by a less frequent occurrence of cadences. Civility, social 
sympathy, and a constant reference to the thoughts and feelings 
of others, lead to the avoidance of positiveness, and of assertions 
terminated by a cadence. Hesitancy, by preventing the mind 
from coming to positive conclusions, or by interrupting its pro- 
gress towards a complete arrangement of thought, exhibits lit- 
tle other peculiarity of utterance than a constant interruption 
of the continuity of discourse by pauses with a rising inflexion ; 
the same inflexion occurring even at the end, from a continu- 
ance of the uncertainty to the last. 

The system which we follow in regard to the part of a word 
over which the mark for a rising inflexion is placed, is this : 

When a phrase ends with a slight rising inflexion, to 
indicate suspension of sense, or a rhetorical contrast with 
another phrase, the mark is placed over the end of the 
last word. 

When an emphatic final word has a rising inflexion, 
and the rise of the voice is very striking and expressive, 
the mark is placed over its accented syllable. 

The mark for a rising inflexion placed over an em- 
phatic word in the middle of a phrase, is generally over 
its accented syllable, or over the vowel, in a word of one 
syllable. 

In many of the last cases, we think that the inflexion actual- 
ly required in natural utterance, is some variety of the circum- 



CONTRAST OP INFLEXIONS. 237 

flex — in most cases, a wave of the second, after an upward skip. 
Yet it is commonly considered as nothing more than a strongly 
marked rising slide. 

In numerous cases, words which we mark by a rising inflex- 
ion placed over the word, ought to have it placed under, and 
passing up beyond it, if such a position could be arranged in 
printing. The actual slide on the accented syllable, must 
often begin on a lower key than that of the preceding word or 
syllable. Beginning thus after a downward skip, the slide ex- 
tends to a key still higher than that immediately preceding. 

CONTRAST OF INFLEXIONS. 

One of the most important uses of inflexions, is to express 
contrasts between ideas. The idea which the mind affirms, 
not simply, but in reference to another, takes a rising, and 
that which completes the contrast, has a falling inflexion. 

This will be made clear by examples : 

1. One of two things may be affirmed, and the other denied. 
In such a case, what is affirmed, is asserted as true of itself, 
and its truth or falsehood will hold good, whether the idea which 
is denied be mentioned or not. The mind may stop and con- 
template the truth of the affirmative for any length of time. 

Kg. 

/ 
It will not snow. 

\ 
It will rain. 

It will make no difference which idea be first mentioned ; 

the inflexions will still remain the same. E. g. 

\ 
It will rain. 

/ 
It will not snow. 

Neither, in earnest or lively utterance, will the grammatical 
construction affect the inflexions. E. g. 

21 



238 EXPOSITION OP THOUGHT. 

\ / 

It will rain ; and not snow* 

If both ideas are affirmed in contrast with each other, that 
which is mentioned jirst, has a rising, and the last mentioned, 
which completes the contrast, has a falling inflexion. E. g. 

/ 
It will either snow 

\ 

or rain. 



Or, 



/ 

It will either rain 

\ 

or snow. 



QUESTIONS. 

In general, the contrast between a question and its answer, 
is expressed, like other contrasts, by the one having a rising, 
and the other a falling inflexion. 

More precisely, however, when a direct question is asked, to 
which the answer will be yes or no, the mind of the person, 
who puts the question remains, after asking it, in a state of 
suspense, and does not rest satisfied till an answer has been re- 
turned. The answer is necessary, to complete or teminate the 
course of thought which the mind has entered upon. Or, the 
condition of the mind at the close of a question, may be stated 
as one of the cases before mentioned, in which the course of 
thought ends with a reference to something that is to follow. 



* This sentence may indeed be read with precisely opposite inflex- 

/ \ 

ions, e. g. it will rain, and not snow. This, however, as will readily 

be perceived, does not set off the contrast in so striking a manner. It 
is in fact a case of that substitution of one inflexion for another, whkh 
we shall explain at the end of this chapter. 



QUESTIONS. 239 

Direct questions, then, which require yes or no for an answer, 
end with a rising inflexion, according to the common rule of 
school-books. 

But there is another class of questions, which begin with an 
interrogative pronoun or adverb, such as who, which, what ; or 
when, why, ichcrefore. These in fact take the form of a com- 
mand, or injunction. For example: When do you go ? is the 
same in meaning as, Tell me, when are you going? 

This class of questions take a falling inflexion on their em- 
phatic word. E. g. 

When do you go?\ 

\ 
t«', When do you go 7 

\ 

or, When do you go 1 

\ 

or, When do you go?\ 

Indeed, any question may be put in the form of a command ; 

just as we may say, I ask you to tell me, or, I demand that you 

tell me.* E. g. 

\ 
Are you going ? 

\ 

or, Are you going ?\ 

\ 

or, Are you going ? 

\ 
or, Are you going ? 

Very often also, when an interrogative sentence is very long, 
the rising tones of interrogation ought not to be continued to 
the end, but falling ones should be substituted, and the whole be 
made to end with a cadence. Yet in punctuation, the mark of 
interrogation must be deferred to the end of the sentence. 

* Our word demand is the same word as the French demande ; but 
in French, demande means simply to ask or inquire. 



240 EXPOSITION OF THOUGHT. 

When likewise two questions are contrasted with each other, 

the contrast is exhibited by a falling inflexion on the last ; as, 

/ \ 

Do you go, or stay 1 

/ 
Is Caesar dead, 

\ 

or is he living ? 

Other variations from the most common modes of giving in- 
flexions on questions, might be stated ; as when the words of 
a question are repeated, by the person of whom it is asked, in 
order to be certain that he understands the inquiry. E. g. 

/ / 

When am I going 1 do you say 1 

But it is needless to pursue the subject of questions farther. 
No practical direction, for interrogative inflexions, is needed, 
except to avoid following uniformly any of the common rules, 
and to trust implicitly to natural instinct in reading questions, 
just as is done in extemporaneous speaking. 

What makes the common rules still more injurious, is, that 
by directing attention exclusively to the inflexion at the end, 
they divert attention from the interrogative tone which 
characterizes every word of the question. 

This interrogative tone running through the whole, 
is the only essential requisite in uttering a question. 

Every question that is not asked in a tone like that of a com- 
mand or a requisition, is uttered with a peculiar interrogative 
turn of the voice, on every syllable. This is of course most 
conspicuous on the accented and emphatic syllables. The in- 
terrogative tone consists in the upward slides and skips being 
carried farther than ordinary. Instead of being simple seconds, 
they are thirds, fifths, or octaves. This wider reach of the 
skips and slides, causes the voice to be apparently on a higher 
key than it really is. 



CONDITIONAL CLAUSES. 241 

From the very moment, then, of beginning an inter- 
rogative clause, a natural tone of asking a question must 
be made strikingly manifest, and kept up on every word. 

CONDITIONAL CLAUSES. 

These begin with conditional or hypothetical conjunctions, 
such as if, though, although, unless. They are also introduced 
by such words as suppose. 

The peculiarity of tone with which they are uttered, was 
first discovered by Dr. Rush, who thus made a valuable contri- 
bution to elocution. 

Conditional clauses have a tone running through them 
similar to that of questions. 

Dr. Rush describes it as being precisely the same. To us it 
seems clearly demonstrable that, while in questions the slides 
of thirds, fifths or octaves are exhibited upon every syllable, 
conditional clauses exhibit them only on the accented syllables. 

In teaching, we have had our attention perpetually called to 
the injurious effect of the common rules in school-books, which 
direct to depend solely on the inflexion at the end of a question, 
for exhibiting its interrogative turn ; such effect being to prevent 
the natural tone of interrogation from being given throughout 
the whole. Of equal importance has been the very common 
fault of reading or speaking conditional clauses without their 
natural and appropriate tone. 

The following example contains two conditional clauses, the 
first beginning with if, and the second with though. Each of 
them is inclosed within a bracket. 

r If the driver - of a public carriage 

maliciously overturn another upon the road, 

whilst the proprietor is asleep - in his bed at a hundred 

[miles distance, 
21* 



242 EXPOSITION OF THOUGHT. 

the proprietor 

\ 

must unquestionably - pay the damages to a farthing ; 

but though the malicious servant 

might also be indicted, 

and suffer punishment - for a crime, 

still, his master 

could not be prosecuted for a crime. 

The following example consists of a condition or supposition 
followed by a question. The question at the end being asked 
emphatically, the interrogative tone is stronger than the condi- 
tional ; but if the two be carefully compared, it will be per- 
ceived, that they have considerable resemblance to each other. 

So, if one of two partners - in trade 



commits a fraud, by forgery, or false indorsements, 
so as to subject himself 
h to death, or other punishment, by indictment, 
could the other party 
be indicted - for a crime ? 

Common geometrical demonstrations abound in conditional 
clauses ; e. g. If A be to B as C is to D, then, &c. Such are of- 
ten introduced by the word let ; e. g. Let A be to B as C to D, 
then E will be to F, &c. 

Further examples of conditional clauses, will be given in the 
subsequent chapter on Emphasis. 



CIRCUMFLEX INFLEXIONS. 243 



CIRCUMFLEX INFLEXIONS. 

These begin with a falling, and end with a rising inflexion. 
We indicate them by placing the marks for each close together, 
and over the accented syllable of an emphatic word. 

The falling part has the same significance as if it were used 
alone. It is this first portion which gives circumflex inflexions 
their logical force and use. By a slight alteration in the con- 
struction of the sentence, every circumflex may be superseded 
by a falling inflexion. In many cases also, it is merely a mat- 
ter of taste which of these two to employ. 

What then is the office of the last or rising slide of the cir- 
cumflex ? 

In most cases, this is called for simply by the grammatical 
construction, which is such as to suspend the sense at the end 
of the clause. 

Sometimes also the rising part is required to exhibit a con- 
trast with another word which has a falling inflexion. 

It is a general rule of good taste in reading or speaking, to 
emphasize by circumflexes as little as possible, and to substi- 
tute simple falling inflexions. The incessant employment of 
the former, produces a disagreeable style of animation in the 
reading of some, who in other respects possess great merit. 
It is going to an extreme, however, to endeavor wholly to avoid 
them. 

Circumflexes are as easy of execution as either rising or fall- 
ing inflexions. Indeed in no sort of delivery do they so much 
abound, as in conversation. No practical direction is required 
for their management, further than the following : 

In emphasizing with a circumflex, endeavor to ex- 
press the logical turn of the idea, by means of a falling 
inflexion : then suffer the voice to end with a suspensive 
tone, in reference to the connexion with what follows, 
or for the purpose of expressing a contrast. 



244 EXPOSITION OF THOUGHT. 

When a circumflex occurs on an emphatic word, which con- 
sists but of a single syllable, it is always what is called a wave. 
That is, the voice slides first in one direction, and then in an- 
other, without any break in the continuity of sound. 

A wave may be either downwards and upwards, or upwards 
and downwards. The first is of most importance, and is that 
which we take care occasionally to mark. The second may 
mostly be dispensed with, so far as the sense is concerned, and 
in place of it the simple downward inflexion employed. It 
is used to prolong a syllable and give it a more earnest expres- 
sion. In very powerful delivery, especially of argumentative 
composition, the increase of power given to falling slides, by 
sliding instead of skipping up to the point where they com- 
mence, is of perpetual occurrence. Bat as this mode of man- 
aging downward inflexions, depends not on the logic and gram- 
mar of a passage, but on the degree of earnestness in the read- 
ing or speaking, we frequently dispense with marking it. 

One of the most common uses of the circumflex, is the fol- 
lowing. In statement or argument, a word is emphasized in 
the way of pointed designation. The speaker by his tone and 
gesture, insists that his hearers shall take especial notice of that 
particular word. This pointing out is effected by means of a 
falling slide of the voice. But on the other hand, the word on 
which this is done is so situated, that it must end with a rising 
inflexion, on account of a contrast, or of a suspension of the 
sense. Thus it happens that two different objects are to be ac- 
complished ; and it is done by a circumflex. 

EXTRACT FOR PRACTICE. 

In the following glowing extract from Burke, the descending 
part of every circumflex proceeds from this principle. It keeps 
up throughout the extract, the tone of pointedly and strongly 
inculcating the leading doctrines. Without the circumflexes 
which we have marked, the argument will be delivered with di- 



CIRCUMFLEX INFLEXIONS. 



245 



minished force and point. Although we have introduced a con- 
siderable number of circumflexes, we might have inserted still 
more. Each reader may increase or diminish the number, to 
suit his own taste and judgment. 

In a few instances, as will be observed, we have marked the 
upward and downward wave. It will be perceived that by 
means of it, a speaker will be enabled to set off the contrasts 
with more force and power. 

As this is one of the most magnificent passages of argument 
ever written, we shall not only mark the emphatic words and 
inflexions, but the emphatic slowness of rhythm which occa- 
sionally occurs, and which is so striking a characteristic of 
Burke's wonderful mastery of style. 

The whole will illustrate the most important uses of all the 
inflexions. 

The clauses included in brackets are conditional, and each 
must exhibit the conditional tone in a striking and spirited 
manner. 

The clause beginning with " As long as you have the wis- 
dom," &,c. is also included in a bracket, although the introduc- 
tory words, " As long as," do not in strict propriety introduce 
a condition. The clause ought not therefore, by the laws of 
language, to be read with the conditional tone. Yet if such a 
tone be given, it will be an allowable license. 

BURKE ON CONCILIATING AMERICA. 

Let the colonies 

. . \/ 

always keep this idea of their civil rights 

/ 
[ associated - with your government, 

\ 

they will cling and grapple to you ; 

\ 
and no force - under heaven, 



246 EXPOSITION OF THOUGHT. 

\ 

will be of power to tear them - from their allegiance. 

/ 
But let it be once understood, 

/ 
that your government may be one thing, 

\/ 

. and their privileges another ; \ / 

[lation ; 

< that these two things may exist - without any mutual re- 

\ 
the cement is gone ; 

\ 

the cohesion is loosened ; 

and every thing hastens - to decay and dissolution. 
As long as you have the wisdom 

to keep the sovereign authority - of this country, 

\/ 

as the sanctuary - of liberty, 

\/ 
» the sacred temple consecrated - to our common faith, 

\ 
wherever 

/ 
the chosen race - and sons - of liberty worship freedom, 

/\ 
they will turn their faces towards you. 

/ 
The more they multiply, 

/\ 
the more friends you will have. 

/ 
The more ardently they love liberty, 

\ 

the more perfect will be their obedience. 

\> 

Slav ery , 

\ 
they can have any where. 



CIRCUMFLEX INFLEXIONS. 247 

/ 

They may have it from Spain, 

\ 
they may have it - from Prussia. 

\/ 
But until you 

become lost to all feeling 

/ 
of your true interest, 

/ 
and your national dignity, 

\/ 
fr eedom they can have 

\ 
from none but you. 

\/ 

Th i s is the commodity of price, 

\ 
of which you have the monopoly. 

\/ 

This is the true - act of navigation, 

/ 
which binds to you the commerce - of the colonies, 

/ 
and through them, 

\ 
secures to you the wealth of the to or Id. 

\/ 
Deny them this participation - of freedom, 

\ 
and you break that sole bond, 

/ 
which originally made, 

\ 
and must still preserve, 

\ 

the unity - of the empire. 

/ 
Do not entertain so weak an imagination, 

\/ 
as that your registers , and your bonds, 



248 EXPOSITION OF THOUGHT. 

your affidavits , and your sufferances , 

\S 

your cochets and your clearances, 

/ 
are what form - the great securities - of your commerce. 

\/ 

Do not dream that your letters of office, 

\/ _ 
and your instructions , 

\/ 
and your suspending clauses, / 

[this mysterious whole, 
are the things that hold together - the great contexture - of 

\/ . / 

These things do not make your government, 

/ 
dead instruments, 

/ 
passive tools as they are; 

\ 

it is the spirit - of the English constitution, 

\/ / 

that gives all their life and efficacy - to them. 

\ 

It is the spirit of the English constitution , 

/ 

which infused through the mighty mass, 

/\ 
pervades, 

/\ 
feeds, 

/\ 
unites, 

invigorates, 

\ 

vivifies, 

\ 
every part of the empire, 

\ 
even down to the minutest member. 



INFLEXIONS. 249 

Before dismissing the subject of inflexions, it is important to 
furnish some further illustration of the modes in which almost 
every example that can be produced, for illustrating the propriety 
of a rising or a falling inflexion on any one word, may be read 
in an opposite manner — the contrary inflexion being substituted 
for that directed. 

Every such change, however, of one inflexion for its opposite, 
is but an apparent, and not a real exception. By such changes, 
the idea is presented in a different light, or, to speak more pre- 
cisely, with a different relation to other ideas. 

It readily follows, then, that rules and directions for invaria- 
bly appropriating one class of inflexions to any particular com- 
bination of words, must be erroneous. This having been done 
in so many of the books on elocution, the error has undoubtedly 
contributed to the general neglect of such books by accurate 
scholars, on the one hand, and by those who have a natural turn 
for delivery, on the other. 

It will be well to take some of the examples which we have 
already used, and explain the circumstances of connexion with 
other ideas which may require inflexions contrary to those 
which we have already given them. 

Take even such strong cases as those of the emphatic falling 
inflexion, by which we express positiveness, strong affirmation, 
or earnest and pointed designation of such ideas as we wish to 
receive particular attention ; even in these, if we employ a dif- 
ferent style of expression, or have a different object in view, the 
downward slide is changed into a rising one. E. g. 

/ 
" I make the assertion deliberately." 

As much as to say — I appeal to you, and asJc you if I am not 

perfectly cool and collected, in making the assertion. 

/ 
" They tell us, Sir, that we are iceak, 

/ . / 

unable to cope with so formidable an enemy." 
22 



250 EXPOSITION OF THOUGHT. 

That is, I concede — I allow — that the opposers of war meas- 
ures, consider us weak, &c. 
We thus see, that — 

Concession, or appeal, or a fair and candid submitting 
of an opinion or assertion, to the consideration and pos- 
sible objections of others, will change affirmative falling 
inflexions to rising slides. 

So too, any rising slide may have a downward one 
substituted for it, whenever we choose to interrupt the 
grammatical or logical continuity of languge or thought, 
for the sake of stopping and pointing out a particular idea, 
as we pass along. 

In most cases however, if this be done, the upward skip with 
which the falling inflexion commences, will be high and striking. 
The upward skip will indeed serve to a considerable extent, 
the office of an upward slide. 

Let us take for an example of this, the first conditional clause 
of the extract from Burke; its inflexions may even be as fol- 
lows, provided we state the condition in the utmost extreme of 
pointedly and even dogmatically inculcating a doctrine. 



\ 
Let the onies 



\ \ 



always keep the i e a of their civil n ^ 

\ \ 

as so ciated with your ^ ov ernment. 

Some notice ought also to be taken of the change which of- 
ten takes place at the close of a series of several falling inflex- 
ions. At the close of our extract from Burke, we have the fol- 
lowing series of emphatic particulars: 

\ \ \ / \ 

" which pervades, feeds, unites, invigorates, vivifies, every 

part of the empire." 



NFLEXIONS. 



25 i 



Here it will be observed, that on the last member but one of 
the series, the inflexion is changed. The object of doing this, 
is simply to show that we are within one particular of the end 
of the enumeration. If the conjunction and intervened be- 
tween the two last members of the series, the change to the rising 
inflexion would be on the last particular, instead of on the last 
but one. 

There are several ways of varying the inflexions, for the pur- 
pose of showing that we are near the end of the series. The 
last may be varied, or the last but one ; or the two or three last. 
No more precise rule is necessary, than the following : 

At or near the end of a series of particulars, we should 
generally vary the inflexion, to show that the series is 
nearly or quite ended. 

The gestures that naturally accompany inflexions, curiously 
correspond with them in regard to upward or downward di- 
rection. We have before mentioned, that emphatic falling in- 
flexions are accompanied with the downward stroke of gesture. 
Rising inflexions, if of moderate extent, are accompanied, sim- 
ply with a suspension of the hand in the air. The arm does 
not naturally incline to descend or fall, until the sense is com- 
pleted, and the voice employs an emphatic downward slide, 
or a cadence. Emphatic rising inflexions, incline to carry the 
hand in an oblique direction, upwards and outwards. But in 
the most flexible, graceful and significant styles of natural ges- 
ture, the motions made more or less in an upward dirction, are 
executed rather at the wrist than from the shoulder. Circum- 
flexes especially, tend to make the gesticulations of the hand 
and forefinger extremely significant. A waving course through 
the air is made by the hand, similar to the downward and up- 
ward progress of the voice. 



252 EXPOSITION OF THOUGHT. 

CHAPTER III. 

EMPHASIS. 

This important subject will be considered in the same physi- 
ological light, as those of pause and inflexion. But before pro- 
ceeding to treat of it in detail, it is essential that we make a few 
remarks, in order to explain more definitely than any one has 
hitherto done, what is the peculiar province of one who acts as 
a teacher, not of oratory, but of elocution. 

Delivery, as a subject of study on the part of a reader or 
speaker, or of criticism on that of an auditor, must be regarded 
under one of two aspects. Viewed in one light, it is a natural 
and instinctive act, by which we give an adequate expression of 
the thoughts and feelings suggested by our subject, and by the 
time, place and occasion. This is the light in which it is re- 
garded throughout the whole of this treatise. Elocution thus 
limited, beeomes a branch of physiology. 

In the other aspect, reading or speaking is viewed as an art, 
and therefore as dependent solely on judgment and taste. The 
art of delivery is a part of the art of oratory. Acting, which 
makes a distinct branch, is also in the legitimate sense of the 
word an art ; as much so as poetry or painting. It is an art 
of a high order. 

Delivery thus exercised, makes use of the physiological laws 
of utterance, as instruments. A speaker who deserves to be 
called an orator, does much more than merely give an adequate 
expression of his impulses and feelings. His reason, or as we 
more commonly say, his taste and judgment, are all the while 
superior to these, and, as it were, look down upon them from a 
higher position; determining which he shall encourage and 
which he shall check. In doing this, however, he must never 
violate any law of nature. His pauses and inflexions, for in- 



-i 



EMPHASIS. 253 

stance, are all determined by laws of reason and grammar. In 
short, all the principles which we have as yet investigated, are 
fixed and definite. They are capable of being reduced to sci- 
entific laws. 

If we apply these considerations to our present subject, the 
distinction between the natural laws of utterance in regard to 
emphasis, and the artistical taste and judgment of the orator, is 
as follows. 

Nature has provided certain modes of rendering words em- 
phatic. We are so constituted, that in the language of our defi- 
nition, (p. 103,) "Emphatic force is given to those parts of dis- 
course which excite the mind of a speaker to peculiar earnest- 
ness, and cause him to make a special effort to awaken the 
same feelings in those whom he addresses." In a merely in- 
stinctive delivery, every word that peculiarly excites the speaker, 
must be uttered in precise correspondence with the impulse. 
But in so doing, he is liable to misjudge. He feels, for instance, 
impulses leading him to enforce with great vehemence, all the 
explanatory inflexions on the principal words of his course of 
reasoning. His audience, however, may be so familiar with 
the subject, or so quick of apprehension, that they do not need 
this assistance, and feel it to be disagreeable. So too, of ap- 
peals to the imagination and emotions : the speaker may per- 
petually misjudge. In all such cases, a knowledge of elocution, 
considered as a mere account of the natural laws of utterance, 
can render him no assistance, and he must be guided by prin- 
ciples belonging to the art of oratory. Such principles, like 
those of poetry, painting a*nd sculpture, are not properly of 
a scientific nature. There may be a science of elocution, as 
there is of natural history. No one however, speaks of a 
science of poetry or oratory. Science does not, like the arts, 
appeal to taste and the decisions of the imagination and feelings. 

As a clear apprehension of these distinctions is essential in 
reference to practical speaking, as well as to an artistical man- 

22* 



254 EXPOSITION OF THOUGHT. 

agement of elocution, it will be useful to dwell upon the distinc- 
tion between emphasis and inflexion. In speaking of the latter, 
we have generally been careful to avoid confounding it with 
the tone that results from its union with the former. An em- 
phatic inflexion is a compound of inflexion with emphatic force. 
Emphatic force results from feeling. The inflexions repre- 
sent acts of the intellect, and are continually employed, with 
or without that excitement of feeling which produces emphatic 
force. Let us illustrate this assertion by a familiar example : 

\ 
I said yes, 

/ 
and not no. 

Here the contrast between what is affirmed and what is de- 
nied, is expressed by opposite inflexions. These must be of a 
marked degree, or there will be no tone of explanation. They 
must be at least thirds and not seconds ; and the extent of the 
change of pitch, by skip and slide, will represent the degree of 
explanatory tone. If we employ but a slight degree, the voice 
will skip and slide a third; if we are more explanatory, these 
changes will either be through a fifth, or the simple slides will be- 
come waves. But suppose the person addressed, is inattentive, 
or incredulous, and we wish to arouse his mind to perceive the 
truth or importance of what we say ; then it is, and only then, 
that we employ emphatic force. This may be given in differ- 
ent ways, but it is always something superadded to the inflexion. 

Emphasis, then, is some kind of emphatic force, and 
may exist with or without inflexion. 

It represents the feeling of the importance of an idea ; 
and if accompanying an inflexion, it superadds force and 
energy to the simply explanatory act of the intellect. 

Emphasis or emphatic force, is simply an instrument 
for awakening attention, and consequent sympathy, in 
other minds. 



EMPHASIS. 255 

A familiar exemplification of its essential nature, is afforded 
by the sharp, loud, or harsh utterance, which we employ to 
command brute animals. 

There is an apparent exception to the truth of the above 
proposition, in the fact that we employ emphasis when talking 
to ourselves. But in all such cases, we are either in imagina- 
tion addressing others, or we actually address ourselves, in the 
same way as when one person speaks to another. E. g. " I say 
to myself." If we may be permitted to use a mode of expres- 
sion that is now growing familiar to all, we may say that, subjec- 
tively, we address ourselves viewed as objective. We, at any 
rate, make an objective representation of our own discourse. 

If then, the various forms of emphasis are nothing more or 
less than instruments for arousing attention and sympathy in 
others, when should we employ these instruments'? 

It is obvious that we may feel the importance of directing the 
attention of others, to the grammatical construction; to the 
logical relations of ideas ; to particular images before the imagin- 
ation ; or to particular emotions or passions. Accordingly, we 
have the following classification : 

1. Grammatical Emphasis. 

2. Logical Emphasis. 

3. Emphasis of the Imagination. 

4. Emphasis enforcing particular emotions. 

The words to be selected for receiving emphatic force, must 
evidently be the most important ones in reference to each of 
these heads. 

Errors occurring under the first two classes, imply that the 
reader or speaker misapprehends the meaning of a passage. In 
respect to these, no license is admissible, except to avoid giving 
force to more words than will be necessary for intelligibility. 

In respect to emphatic enforcement of words that appeal to 
the imagination, or to the emotions, the principles of grammar 
and logic are not without influence, yet imagination is also ne- 



256 EXPOSITION OF THOUGHT. 

cessary, and taste and judgment must be exercised. The call 
for these is similar to that made in writing an essay or oration. 
The grammatical and logical arrangement of the composition, 
will indeed, in ordinary cases, be a sufficient direction, but a 
reader or speaker of skill and cultivated power, will often be 
much superior to those who depend on these alone. No com- 
position is found less interesting in ordinary delivery, than de- 
scription or narration ; while none is more so, when read or 
spoken by one who makes use of a poetical imagination. 

We thus find that even the selection of words for receiving 
emphatic force, is liable to depend on taste and judgment ; 
while the degree of the force must be determined solely by the 
same guides. But as artistic principles are never very neces- 
sary for enabling one to do justice to his own sentiments; noth- 
ing more is necessary for qualifying us to become practical 
speakers, than to acquire the power of giving a free and bold 
expression to natural impulses. 

Let a speaker emphasize such words as most excite 
his own understanding, imagination and feelings; and 
let the degree of force be such as to produce on his au- 
dience the impression he wishes. 

In respect to determining the latter point, considerable assist- 
ance may be derived from the section (p. 126) on the Con- 
sciousness of being earnest and interesting. 

By the very act of endeavoring to speak with earnestness, 
one's whole mind is aroused to activity ; and improvement in 
respect to. propriety of emphasis, keeps pace with that in the 
more mechanical and physical requisites of delivery. Yet 
though the mind of the speaker is in fact actuated by principles 
of thought, he is not often distinctly conscious of them at the 
time of speaking. 

The following general directions, however, seem to us to be 
such as actually influence the choice of emphatic words, and 
will undoubtedly be found useful. 



EMPHATIC GROUPING. 257 

In following a train of thought, we find that each suc- 
cessive sentence adds a new idea to those which have 
been given in preceding sentences. 

The new idea must always receive an emphasis. 

We also meet continually with ideas that have been 
expressed or implied in previous sentences. 

These are to be passed over without emphasis. 

Sometimes however an idea is repeated by the wri- 
ter, for the sake of again inculcating its importance. 

In such cases it must be emphasized again, and with 
still greater force. 

The rhetorical principle of climax, is also of constant recur- 
rence in animated composition, requiring the most important of 
two or more ideas to be placed last. Hence, if we meet with 
a series of emphatic ideas, which all stand in the same or a 
similar relation, the emphatic force increases as we proceed, 
and is most striking on the last of the climax. Therefore, 

When we meet with a series of ideas requiring em- 
phasis, let the climax of force correspond to that of the 
thoughts. 

Before proceeding to explain and illustrate by examples for 
practice, the several kinds of emphasis, according to the classi- 
fication lately given, we will furnish examples in which the 
above rules will guide every one aright. 

But it is first necessary to explain a principle which we have 
before alluded to, viz. the effect of strong emphatic force in fu- 
sing groups together, so as sometimes to make the actual words 
of utterance extremely long. 

EMPHATIC GROUPING. 

Emphatic force is a still higher degree of accentual force. 
This higher degree may unite several groups, and even two or 



/ • 

258 EXPOSITION OF THOUGHT. 

more phrases, into a whole, which is uttered with a single men- 
tal and vocal effort. In familiar delivery, such fusing of groups 
and phrases causes the rate of utterance to be rapid. Experi- 
enced speakers, however, learn to exhibit this process of ma- 
king a single whole out of several parts, without any relaxation 
of a suitable slowness and deliberation. 

They acquire the power of keeping a clear and unwavering 
conception of the intimate clustering of subordinate ideas 
around the emphatic one, and of maintaining, at the same time, 
a perfect command over the voice. 

Yet it must be remembered, that in all such cases, the words 
which cluster to the emphatic one, and make, as it were, one 
extremely long group, are such as express ideas with which 
both the speaker and the auditor are so familiar, that there is 
no necessity for enforcing them. They are words which have 
either been employed before, or would be readily understood if 
they should be omitted. It is not even necessary to the mere 
intelligibility of a discourse, that they be distinctly caught by. 
the ear. In addresses to very large assemblies, it often hap- 
pens that they are not distinctly heard by a considerable pro- 
portion of the auditors. Except in very deliberate and distinct 
speaking, their natural utterance is in a sort of under tone, anc 
with an obscure sound of the voice, like that of words spoker 
aside in a dialogue. They likewise run on a monotone, and ir : 
a key at least as low, or as high, as that of the termination o 
the slide or skip of the emphatic word. When on a low key 
as is always the case after an emphatic falling inflexion, it i; 
difficult to determine their exact pitch in so obscure a tone 
of voice. 

Some English writers on elocution, have to some extent, bu{ 
very imperfectly, apprehended this principle, and distinguished 
the words which in this manner follow an emphatic falling in] 
flexion, by the name of a slur, or a slurred passage. 

We will first quote in exemplification, a sentence which ml 
have already employed to illustrate the lowest degree of tht 



EMPHATIC GROUPING. 259 

principle; one in which a noun which has been before em- 
ployed, is repeated again, without its natural strong accent, and 
lin short, is uttered precisely like a pronoun. Vide p. 204. 

Yes! Gentlemen, 

\ 
the defendant has forced the press. 

In vehement argumentation, such a phrase is uttered like one 
: jlong word which has two secondary accents preceding the pri- 
mary one at the end. 

In the following example, all the words that follow the vehe- 
ment emphasis on competency, are uttered with accents which, 
5 iin relation to that on com, are but secondary, and, the same be- 
ing the case with the words before the emphasis, the whole 
! i phrase becomes, in utterance, but a single word. 

\ 

I deny the COMpetency of Parliament, to do this act. 

We may even lengthen this example, and if the speaking be 
sufficiently vehement, the whole will still be fused into a group 

i uttered as a single word. 

\ 
I give an unqualified denial to the assertion of the COMpetency of Par- 
liament, to abolish the legislature of Ireland. 

The following is from Wirt's celebrated report of the speech 

of Patrick Henry in favor of war measures. 

\ 
Sir, we have done every thing that COULD be done to avert the storm 

[that is now coming on. 

These examples will be abundantly sufficient to illustrate the 
principle, which is one of very frequent occurrence, and indis- 
1 pensable in practice whenever a glowing animation, and what 
the ancients called the " torrent" of delivery, is called for. No 
principle is more perpetually exemplified in conversation, and 
in fluent extemporaneous speaking. There is no danger that 
the lawyer will fail of instinctively practising it. Yet those 



260 EXPOSITION OF THOUGHT. 

whose sole vocation, in speaking, is to deliver formal discourses 
in very large rooms, are apt to acquire habits of monotonous 
uniformity of force and accent, which entirely prevent this nat- 
ural subordination of several words to a single one. An exclu- 
sive cultivation of articulation, while other parts of delivery are 
neglected, may produce the same ill effect. It is important to 
be known, in reference to the mere intelligibility of a discourse, 
that it is not at all necessary that every syllable, or even every 
word, be distinctly caught by the auditors. Articulation is of 
less importance to the meaning of the whole of a passage, than 
natural emphasis, and the due subordination of a part of the 
words to the rest. 

In reference to this principle, the following will suffice for 
practical directions. 

When a phrase has a single strong emphatic word, let 
this be uttered with such force, that the others shall be 
kept subordinate to it. 

If pauses are made for convenience of respiration, let 
them be so managed, as not to interfere with the unity 
of the phrase, and especially with the subordination of 
all the words to the emphatic one. 

It is the better observance of the relative subordination of 
ideas, which chiefly constitutes the superiority of conversational, 
or of glowing extemporaneous delivery. 

The principle is of equal importance, in reference to clauses 
and phrases which come in parenthetically, and interrupt the 
connexion of others. The practical direction, however, for 
managing these, should not be, to deliver them in an obscure 
and hurried manner, but as follows : 

Exhibit the subordination of phrases which interrupt 
the connexion between emphatic words, principally by 
means of striking force on the emphases which precede 
and follow them. 



EMPHATIC GROUPING. 261 



EXAMPLES FOR PRACTICE. 



The following extract illustrates such principles of emphasis 
as we have hitherto furnished. Tt likewise abounds in contrasts 
of opposite emphatic inflexions. The primary principle of the 
emphasis is very simple; being that of a succession otneiv ap- 
peals to the minds of the assembly. These grow stronger also, 
in the way of climax. 

\ 

They tell us that we are weak, 

\ 
unable - to cope - with so formidable an adversary. 

\ 
But when - shall we be stronger 1 

/ 
Will it be the next week, 

\ 

or the next year ? 

/ 
Will it be - when we are totally disarmed, 

/ 
and when a British guard shall be stationed in every house ? 

/ 
Shall we gather strength by irresolution - and inaction ? 

Shall we acquire the means of effectual resistance, 

/ 

by lying supinely on our backs, 

/ 
and hugging - the delusive phantom of hope, 

/ 
until our enemies shall have bound us, 

/ 
hand and foot? 

\ 
Sir, we are not weak, 

if we make a proper use \ 

[power. 
of those means which the God of nature hath placed in our 

23 



262 EXPOSITION OF THOUGHT. 

Three millions - of people, 

/ 
armed - in the holy cause of liberty, 

/ 
and in such a country - as that which we possess, 

are invincible by any force 

which our enemies - can send against us. 

Patrick Henry. 

The following illustrates the same principles, and especially 

that of repetition for the sake of increased emphasis. 

/ 
With a step steady as time, 

/ 
and an appetite keen as death, 

the defendant - has been seen waging against the plaintiff, 

/ 
a warfare not - of conquest, 

\ 

but Of EXTERMINATION. 

He has been seen - opening on the plaintiff, 

\ 
the batteries of the press. 

\ 
Yes, gentlemen, 

\ 
the defendant - has forced the press 

\ 
to become the disturber - of domestic quiet, 

the assassin - of private reputation.\ 

Our press, gentlemen, 

\ 
was destined - for other purposes. 

/ 
It was destined not - to violate, 

\ 
but to protect the sanctity of private rights. 



GRAMMATICAL EMPHASIS. 263 

It was kindly ordained - by a beneficent Providence, 

\ 
to inform, 

\ 
expand, 

\ 
and dignify the public mind. 

\ 
It is for these - high purposes our press was ordained ; 

but the defendant 

\ 
has rendered it the degraded vehicle - of foul defamation. 

\ 
Of this I complain, 

/ 
not - merely - as counsel for the plaintiff, 

\ 
but as the humble - advocate of my country. 

Griffin. 

grammatical emphasis. 

This enunciates some words more strikingly than others, to 
assist in apprehending, or remembering, an extended grammat- 
ical construction. It is occasionally needed, when the style is 
diffuse, and a particular sentence is long. 

It often happens that the nominative noun of the subject, has 
appended to it several words, which make the whole subject 
very long. This appended portion will separate the nominative 
from the verb, by a considerable interval. In such a case, it 
will be uttered with more force ; and thus will not only have its 
importance in the subject indicated, but will be remembered, 
when the mind, both of the speaker and listener, arrives at the 
predicate. There will also be a corresponding emphasis, on 
the verb, adjective, or noun, of the predicate. E. g. 

Every thing in the city - of our residence - on earth, 

reminds us. 



264 EXPOSITION OF THOUGHT. 

that we are never - stationary - in it, 

[parture. 

but are always advancing towards the period - of our final de- 

In this example, the emphatic force on every thing, and re- 
minds, shows the relation of nominative and verb. The subse- 
quent emphases are not only grammatical, but logical ; since 
they indicate the most important idea in each phrase, as well as 
the construction of the sentence. 

Grammatical emphasis is always needed, when the subject 
and predicate are separated by intervening clauses. E. g. 

The aggregate of days that have passed by us, 

the yearly seasons, 

the scenes of life, and periods of age, 

since we came into possession - of our privileges, 

since we first - knew our dwellings, 

walked - our streets, 

and entered - our sanctuaries, and heard the words of God, 

are so many advances towards eternity ;\ 

and tell, 

as they thicken - on the path - we leave, 

how soon we reach the close - of our pilgrimage, 

and enter - upon unknown worlds. 

Prof. Fitch. 

The emphases in the last two phrases of the above, show the 
grammatical relation to tell, from which they are separated by 
an intervening clause. These cases, like the last emphases in 
the preceding example, and numerous others, are instances of 
the coincidence of grammatical with logical emphasis. 



GRAMMATICAL EMPHASIS. 265 

In general, when a composition proceeds in a flowing style, 
and with long periods, grammatical, in addition to logical em- 
phasis, is needed. Yet to a great extent, the two will coincide. 

The following beautiful period from the same sermon which 
furnished our two preceding examples, will be found, on analy- 
sis, an instructive exemplification of the present subject. We 
mark its emphases as follows. The phrases which are wholly 
in italics, are the subject phrases of the whole period. The 
second and fourth from the end, have entire words in italics, to 
show their common grammatical relation. In the others, the 
words in corresponding grammatical relations, are indicated by 
italicising the accented vowel of each. To prevent confusion, 
we have omitted to mark the emphasis required on the word 
M first," in the second phrase, which is purely an emphasis of 
thought. 

He has beheld us, 
in the first stages - of our being - here, 
engaged - in unrighteous rebellion - against his authority, 
and bent - on neglect of his glories ; 
and, moved with pity, 
sent his everlasting Son, 

to atone - for our gmlt and to call us - to repentance, 
and his Holy Spirit, 
to indite - his will, and influence us - to obedience. 

One of the most common uses of this kind of emphasis, is to 
connect an antecedent and its relative. If the antecedent be a 
pronoun, it will thus, though naturally unaccented, receive a 
strong and emphatic accent. E. g. 

Nor could I regard him as a safe counsellor, 
23* 



266 EXPOSITION OF THOUGHT. 

in the affairs - of this government, 

whose thoughts should be mainly bent - on considering, &,c. 

From the above examples, our readers will readily infer, that 
grammatical emphasis is common and important. Yet it must 
be remembered, that while, in general, sentences are so con- 
structed, that the most important word in each clause or phrase 
will require some degree of emphasis in reference to setting 
forth thought, the same emphasis will also assist in displaying 
the grammatical relation. 

LOGICAL EMPHASIS. 

The emphasis of thought, coinciding with that of grammar, 
will in general cause the most important words in a phrase to 
be uttered more forcibly than others. There is a great deal of 
such emphasis, which is too obvious to need rules or description. 
Upon it, to a great extent, depends the rhythm of discourse, and 
the balance of phrases in style. 

But the most important part of the present subject, and that 
to which the term logical emphasis is most applicable, is that of 
emphatic inflexions. 

These designate various relations between single words, or 
between whole clauses, sentences, and even paragraphs, and 
may be arranged under the following heads. 

1. Simple pointed Affirmation and Designation. 

2. Negation ; often used in contrast with affirmation. 

3. Condition and Consequence; as contrasted relations. 

4. Concession and Denial ; also contrasted. 

5. Question and Answer ; generally contrasted. 

6. Contrast; or one thing compared with another. 

7. Reference; which is a variety of the preceding. 

8. Correspondence; another variety of contrast : e.g. 

\ 

" I told him to do so ; he did so." 



LOGICAL EMPHASIS. '207 

9. Intensive Emphasis; which may be upon affirmation, ne- 
gation, or contrast. 
10. Emphasis of Remonstrance, which resembles that of Ref- 
erence. 
The inflexions, by which these relations are pointed out, 
having been sufficiently noticed in the preceding chapter, we 
shall proceed to furnish a series of extracts for practice, each of 
which will be characterized by a prevalence of one sort of em- 
phasis. The passages which we extract, will sometimes be 
found among the most admirable in the language, as regards 
rhetorical structure. 

1. Pointed Affirmation. 

The following is from a vehement argument against the un- 
ion of Ireland with England. The latter part illustrates, also, 
the contrast of affirmation and negation. 

" Sir, in the most express terms, 

\ [gislature of Ireland. 

I deny - the competency - of Parliament - to abolish the le- 

\ 
I team you, 

\ 
do not DARE 

\ 

to lay your hands on the constitution. 
I tell you, that if, 

circumstanced - as you are, 

\ 
you pass this act, 

\ 
it will be a nullity, 

and that no man in Ireland 

\ 
will be bound to obey it. 



268 EXPOSITION OP THOUGHT. 

\ 

I make the assertion deliberately ; 

\ 
I repeat it, 

and I call on any man who hears me, 

\ 
to take down my words. 
\ 
You have not been elected - for this purpose ; 

\ 
you are appointed to make laws, 

/ 

and not legislatures : 

\ 
you are appointed to act under the constitution, 

/ 
not - to alter it : 

\ 
you are appointed - to exercise - the functions of legislators, \ 

/ 
and not to transfer them : 

/ 
and if you do so, 

\ 
your act is a dissolution of the government : 

\ 

you resolve society into its original elements, 

and no man in the land, 

\ 
is bound to obey you. 

Plunket. 

The following illustrates the emphasis of pointed affirmation 
and designation, as it is used in the statement of a case. 

Gentlemen - of the Jury.\ 

\ 

My case is as follows : 

William Orr 
was indicted, 



LOGICAL EMPHASIS. 



2G9 



\ 

for having administered the oath - of a United Irishman. 

After remaining - upwards of a year in jajl, 

\ 

Mr. Orr was brought to his trial; 

\ 
was prosecuted by the state ; \ 

[Whcally, 

was sworn against by a common informer - by the name of 

who himself had taken the same oath, 

\ 
and was convicted under the insurrection act, 

/ 

which makes the administering - such an oath, 

/ \ 

felony, or death. 

The Jury 

\ 
recommended Mr. Orr to mercy. 

The Judge, 

with a humanity - becoming his character, 

transmitted - the recommendation 

\ 

to the noble prosecutor - in this case. 

Three of the jurors 

made solemn affidavit, in court, 

\ 
that liquor had been conveyed into their box ; 

\ 
that they were brutally threatened, 

by some of their fellow jurors, 

with capital prosecution , 



270 EXPOSITION OF THOUGHT. 

\ 

if they did not find their prisoner - guilty ; 

\ 
and that under the impression - of those threats, 

/ 
and worn down by watching - and intoxication, 

/ 
they had given a verdict - of guilty - against him, 

\ 

though they believed him, in their conscience, to be innocent. 

\ 
Further inquiries - were made, 

which ended - in a discovery, 

of the infamous - life and character 

\ 
of the informer. 

\ 

A respite - was therefore sent, 

\ 
once, and twice, and thrice, 

\ 

to give time, 

as the Attorney General has already stated, 

\ 

for his Excellency - to consider, 

/ 
whether mercy - could be extended to him, 

\ 

or not ; 

\ 
and with a knowledge - of all these circumstances, 

his Excellency - did finally determine, 

\ 

that mercy should not be extended to him ! 

/ 
He was accordingly - executed, - upon that verdict, 

and died 

with a prayer - for the welfare of his country. \ 






LOGICAL EMPHASIS. 



271 



\ 
It is upon the Lord Lieutenant of Ireland, then, gentlemen, 

tion ;\ 
that the attack has been made, by the author of this publica- 

/ 
and against him, 

\ 

the charge is made, \ 

[express it, 
as strongly, I suppose, as the writer could find words to 

"that the Viceroy of Ireland 

\ 

has cruelly abused 

/ 
the prerogative of royal mercy, 

in suffering a man, 

/ 
under such circumstances, 

\/ 
to perish like a common malefactor." \ 

\/ 

For this, 

the Attorney General calls upon you, 

to pronounce the publication, 

\ 
a false - and scandalous libel. 

Curran. 

The following indignant burst in the British parliament, ex- 
emplifies the emphasis of pointed affirmation, in a statement in 
reply. It also exhibits contrast and climax. 

/ 
" They planted - by your care ?" 

\ 
No; 

\ 
your oppressions - planted them in America. 



272 EXPOSITION OF THOUGHT. 

\ 

They fled - from your tyranny, 

■ \ 

to a t hen - uncultivated - and inhospitable country, 

where they exposed themselves, 

\ 

to almost all the hardships - to which human nature is liable ; 

and among others, 

\ 

to the cruelties of a savage foe, 

the most subtle, 

and I will take it upon me to say, 

\ 
the most formidable, 

\ 

of any people - upon the face of the earth; 

\ 

and yet, 

actuated - by principles - of true English liberty, 

\ 

they met all these hardships with pleasure, 

/ 
compared with those - they suffered in their own country, 

\/ 
from the hands of those - who should have been 

\ 
their friends. 

/ 
They nourished up - by your indulgence ? 

\ 

They grew - by your neglect of them. 

/ 
As soon as you began to care about them, 

that care was exercised in sending persons to rule them, 



LOGICAL EMPHASIS. 273 

/ 

in one department and another, \ 

[bers of this house ; 

who were, perhaps, the deputies 0/* deputies to some mem- 

\ 
sent - to spy out their liberties, 

\ , 
to misrepresent their actions, 

\ 
and to prey upon them ; 

men, - whose behavior, on many occasions, 

has caused the blood of those sons of liberty, 

\ 

to recoil within them ; 

men - promoted to the highest seats of justice, 
some of whom, 

to my knowledge, 

were glad, 

/ 
by going to a foreign country, 

\/ ; 

to escape being brought to the bar of a court of justice, 

\ 
in their own. 

/ 
They protected - by your arms? 

\ 
They have nobly taken up arms - in your defense; 

they have exerted their valor, 

amidst their constant and laborious industry, 

for the defense of a country, 

/ 
whose frontier was drenched in blood, 

24 



274 EXPOSITION OF THOUGHT. 

while its interior parts, 

yielded all its little savings, 

\ 

to your emoluments. 

\ 
And, believe me; 

\ 
remember I this day - told you so ; 

that the same spirit of freedom, 

/ 
which actuated that people, at first, 

\ 
will accompany them - still. 

Col. Barre. 

2. Negation contrasted with Affirmation. 

Almost the whole of the following vigorous passage, illus- 
trates this contrast. It concludes with a condition and its con- 
sequence. 

/ 
Parliament is not a congress - of ambassadors, 

/ 
from different - and hostile - interests, 

/ 
which interests each must maintain, 

/ 
as an agent - and advocate, 

/ 
against other agents and advocates ; 

\ 
but Parliament is a deliberative assembly - of one nation, 

\ 
with one interest, 

\ 
that of the whole ; 

/ 
where, not - local purposes, 






LOGICAL E M r II A s 1 1 . 275 

/ 

not - local prejudices, ought to guide, 

\ 
but the general good, 

\ 
resulting from the general reason - of the whole. 

/ 
You choose a member, indeed, 



/ 



but when you have chosen him, 

/ 
he is not a member of Bristol, 

\ 

but he is a member of Parliament. 

If the local constituent 
should have an interest, 

or should form a hasty opinion, 

/ 
evidently opposite to the real good - of the rest of the com- 

/ [munity, 

the member for that place, 

\ 
ought to be as far as any other, 

from any endeavor - to give it effect. 

Burke. 

3. Condition md Consequence. 

The following is a remarkable passage. The first paragraph 
is made up of a lengthened condition, followed by its conse- 
quence. In the second paragraph, both the condition and the 
consequence, are in the form of questions. 

If it be true, 

that Mr. Hastings was directed to make the safety and prosper- 

/ 
[ity of Bengal, the first object of his attention, 



276 EXPOSITION OF THOUGHT. 

/ [perous ; 

and that, under his administration, it has been safe and pros- 

/ 
[sions and revenues in Asia, 
if it be true that the security and preservation - of our posses- 

/ 

[government, 

were marked out to him as the great leading principles of his 

/ 
and that those possessions and revenues, 

/ 

amidst unexampled dangers, 

/ 

have been secured and preserved ; 

\y 

then 

a question may be mixed with your consideration, 

\ 
much beyond the consequence of the present prosecution , 

involving, perhaps, 

\ 
the merit of the impeachment itself, 

\ 

which gave it birth. 

If England, 

/ 
from a lust of ambition and dominion, 

/ 
will - insist 

/ 
on maintaining despotic ride over distant and hostile nations, 

[herself, 
beyond all comparison, more numerous and extended than 

and give commission to her viceroys - to govern them, 

/ 
with no other instructions - than to preserve them, 



LOGICAL EMPHASIS. 277 

/ 

and to secure permanently their revenues ; 

with what color of consistency or reason, 

\ 
can she place herself - in the moral chair, 

\/ 

and affect to be shocked 

\ 
at the execution - of her own orders, 

\ [necessary to their execution — 

adverting to the exact measure - of wickedness and injustice - 

\ 
and complaining only of the excess, as the immorality — 

/ 
considering her authority, 

as a dispensation 

\ 
for breaking the commands of God, 

\/ 
and the breach of these, 

as only punishable 

\ 
when contrary to the ordinances - of man? 

\/ 
Such a proceeding, Gentlemen, 

\ 
begets serious reflections. 

It would be better, perhaps, 

\ 
for the masters and - the servants, 

of all s tch go lernments, 

to join in supplication, 

that the great Author - of violated humanity, 

may not confound them together, 

in one common judgment. 

Erskine. 

24* 



278 EXPOSITION OF THOUGHT 



4. Concession and Denial. 

In the latter part of the following extract, we have marked 
several of the emphases, with the wave, or inverted circumflex. 
Throughout the whole passage, the contrasts will be obvious. 
The appropriate inflexions will be successfully given by the 
speaker, if he enters earnestly into the argument. 

/ 
It ought to be the happiness - and glory - of a representative, 

/ 
to live - in the strictest union, 

/ 
the closest correspondence, 

\/ 
and the most unreserved communication 

\ 
with his constituents. 

Their wishes 

/ 
ought to have great weight with him ; 

/ 
their opinion, high respect, 

/ 
their business, 

\ 

unremitted attention. 

/ 
It is his duty, to sacrifice his repose, 

/ 
his pleasures, 

/ 
his satisfactions, 

to theirs ; 

/ 
and, above all, 

/ 
ever, and in all cases, 

\/ 
to prefer their interests 



LOGICAL EMPHASIS. 



279 



\ 
to his own. 

But, his unbiassed opinion, 

\/ 
his mature judgment, 

\/ 

his enlightened conscience, 

/\ 
he ought not - to sacrifice — 

to you, 



\ 



to any man, or to any set of men living, ; 

/\ 

These he does not derive 

/ 
from your pleasure — 

\ 
no, 

/\ 
nor from the law - and the constitution 

/\ 
They are a trust from Providence, 

/ 
for the abuse of which, 

\ 
he is deeply answerable. 

Your representative owes you, 

/ 

not his industry only, 

\ 
but his judgment ; 

\ 
and he betrays, 

/ 
instead of serving you, 

/ 
if he sacrifices it 

\ 
to your opinion. 



•/" 



Burke. 






280 EXPOSITION OP THOUGHT. 



5. Question and Answer. 

The following is a continuation of the extract, in a previous 
chapter, on " Conciliating America." Vide p. 245. 

Do you imagine, then, 

/ 

that it is the land tax 

/ 
which raises your revenue ? 

/ 
that it is the annual vote in the committee of supply , 

/ 

which gives you your army ? 

/ 
or that it is the mutiny bill 

/ 
which inspires it with bravery and discipline ? 

\ A 

No! 

\ 

surely no ! 

\ 
It is the love of the people : 

it is their attachment to their government, 

\ [ous institution, \ 

from the sense of the deep stake - they have, in such a glori- 

/ 
which gives you your array and your navy, 

/ 
and infuses into both, that liberal obedience, 

without which, 

\ 
your army would be a base rabble, 

\ 

and your navy nothing but rotten timber. 

Burke. 

6. Antithetical Contrast. 
The following passage is the conclusion of the last extract. 
The first two periods are in contrast with each other. In each 



LOGICAL EMPHASIS. 281 

of the three concluding sentences, we have an antithetical con- 
trast of ideas. 

MAGNANIMITY IN POLITICS. 

/ 

All this, 

I know well enough, 

/\ 
will sound wild, 

/\ 
and chimerical, 

/ / [cians, 

to the profane herd of those vulgar and mechanical - politi- 

/ 
who have no place - among us, 

/\ 
a sort of people who think that nothing - exists, 

/ 

but what is gross and material, 

and who, therefore, 

/ 
far from being qualified to be directors 

/ 
of the great movement - of empire, 

/\ 
are not fit - to turn a wheel - in the machine, 

\/ 
But to men - truly initiated^ 

\/ 

and rightly taught, 

these ruling and master principles, 

which, in the opinion of such men as I have mentioned, 

/ 
have no substantial existence, 

\ 
are, in truth, every thing, 

\ 
and all in all 



282 EXPOSITION OP THOUGHT. 

/ 

Magnanimity, in politics, 

\ 
is, not seldom, the truest wisdom ; 

\S 

and a great empire, and little minds, 

\ 
go ill together. 

/ 
Let us get an American revenue, 

\ 
as we have got an American empire. 

\ 

English privileges 

/ 
have made it all that it is ; 

English privileges, alone, 

v 

will make it, 

/\ 

all that it can be. 



CROMWELL AND NAPOLEON. 



Burke. 



The following extract from Macaulay, exhibits the utmost 
degree of his peculiar antithetical style. Considerable skill and 
judgment may be exercised in its delivery, by occasionally di- 
minishing the emphatic force, and thus making the whole run 
smoothly. 

In the general spirit - and character - of his administration, 

/ 

we think Cromwell 

\ 
far superior to Napoleon. 

Reason and philosophy 

did not teach the conqueror of Europe, 



LOGICAL EMPHASIS. 283 

/ 

to command his passions, 

or to pursue, as a first object, 

\ 
the happiness of his people. 

They did not prevent him from risking his fame and his power, 

/ 
in a frantic contest against the principles - oHiuman nature, 

\ 
and the laws - of the physical world; 

/ 
against the rage of the winter, 

\ 
and the liberty of the sea. 

[nicious of superstitions, 
They did not exempt him from the influence of that most per- 

\ 
a presumptuous fatalism. 

/ 

They did not preserve him from the inebriation of prosperity , 

or restrain him from indecent querulousness - and violence, 

\ 
in adversity. 

On the other hand, 

/ 
the fanaticism - of Cromwell 

/ 
never urged him on impracticable undertakings, 

\ 

or confused his perception - of the public good. 

/ 
Inferior to Bonaparte, in invention, 

\ 
he was far superior to him, in ivisdom. 

/ 
The French Emperor is, among conquerors, 

\ 
what Voltaire is, among writers, 



284 EXPOSITION OP THOUGHT. 

\ 

a miraculous child. 

His splendid genius 

was frequently clouded by Jits of humor, 

as absurdly perverse, 

\ 

as those of the pet of the nursery, 

/ 
who quarrels with his food. 

\ 

and dashes his playthings - to pieces. 

\/ 

Cromwell 

/\ 
was, emphatically, a man. 

He possessed, in an eminent degree, 

\ 
that masculine and full grown - robustness of mind, 

\ 
that equally diffused intellectual health, 

which, if our national partiality does not mislead us, 

has peculiarly characterized 

\ 

the great men of England, 

Never was any ruler 

\ 
so conspicuously born for sovereignty. 

/ 
The cup which has intoxicated almost all others, 

\/ /\ 

sobered him. 

/ 
His spirit, restless from its buoyancy, in a lower sphere, 

reposed - in majestic placidity, 

\ 

as soon as it had reached the level - congenial to it. 



, 



LOGICAL EMPHASIS. 285 



He had nothing in common - with that large class of men, 
who distinguish themselves in lower posts, 

and whose incapacity becomes obvious, 

\ 

as soon as the public voice summons them to take the lead. 

Rapidly as his fortunes grew, 

\/ 
his mind 

\ 
expanded more rapidly still. 

/ 
Insignificant as a private citizen, 

\ 
he was a great - general; 

he was a still greater - prince. 



Macaulay. 



7. Referential Emphasis. 



This emphasis is a variety of that of Contrast. Some ac- 
count of it has been given under the head of Rising Inflexions, 
at p. 235. But as it often characterizes long passages, or even 
an entire discourse, it requires some further notice. 

When a speaker advances assertions or doctrines in opposi- 
tion to an adversary, or contrary to a prevalent opinion, his tone 
is characterized by a peculiar modulation, which indicates a 
pointed reference. The same tone is likewise heard, when he 
is liable to a suspicion of holding opinions contrary to what he 
expresses. Though it runs through the whole of his delivery, 
yet it is of course most striking on emphatic words. 

Rising inflexions are the most prevalent and characteristic; 
and, as was mentioned in the previous chapter, often take the 
place of cadences at the ends of sentences. There is a ten- 
dency, likewise, to use waves and circumflexes. When falling 

25 



286 EXPOSITION OF THOUGHT. 

inflexions are actually necessary, they begin on a high key, and 
are often such as we mark by the wave. 

In gesture, the rise of the hand corresponds in a general way 
to that of the voice. Instead of downward strokes of gesture, 
one or both hands are oftener extended towards the audience 
with the expression of appeal. 

We find it impossible to mark this emphasis, so as to distin- 
guish it from other forms of contrast, except by indicating the 
upward skip which so strikingly characterizes it. This we 
effect by placing the accented syllable higher than the rest of 
the phrase. No difficulty will be experienced in executing this 
very striking and significant turn of the voice, provided the 
reader trusts boldly to his natural impulses. It is one of very 
frequent use in conversation. 

THE UNION. 

I pr(/ ess > Sir, 

in my career - hitherto, 

/ 
to have kept steadily in view, 

\/ 

the honor - and prosperity of the w ° e country, 

/\ 

and the preservation - of our federal u nion. 

/ 

I have not al e myself 

\/ 

to look be^ on the union, 

v 

to see what might be hidden in the dark recess be 

/ 
I have coolly weighed the chances - of preserving liberty, 

\/ 
when the bonds - that unite us together shall be broken a sww der. 



LOGICAL EMPHASIS. 



287 



I have not accustomed myself to hang over the precipice - 
% \/ 

r C (IIS 

/ [of union, 

to see, whether, - with my short sight, 

\/ 
I can fathom the depth of the abyss - be ' 

/ [this government, 

nor can I regard him - as a safe counsellor, - in the affairs of 

whose thoughts - should be mainly bent on considering 

\S 
no how the union - should be best pre serve * 

/ 
but how ° erable might be the condition of the people, 

/\ 
when it shall be broken up and de r0 ^ c 

/ 
While the union lasts > 

\ 
we have hi Z h > 

\ 

ci. . 
ex ting 

\ - 
£ ra ifying prospects 

/ 
spread out - before us, 

/ 

for us > 

\ 

and our dren. 

Be ymd that, 

I seek not to penetrate the veil. 



288 EXPOSITION OF THOUGHT. 

God grant! 
/ 
that, in m ^ day, at least, 

\ 

that curtain may not rise. 

God grant, 

/ 
that, on " vision, 

never - may be opened 

what lies behind! 

[sun in heaven, 
When my eyes shall be turned to behold, for the last time, the 
/ 

t not »_• 

may L see him, 

shining on the broken - and dis n ored fragments 

/ 

P once i • u - 
of a glorious nion ; 

/ 

on states dis sev ered, 

/ 

dis dant y 



rent ; 

/ 



bet to erent 



on a land rent with civil J eu s ' 

and drenched, it may be, in fraternal 00 ' 
let their last - feeble and lingering glance, rather, 
behold the gorgeous ensign of the republic, 
now known and honored throughout the earth, 



LOGICAL EMPHASIS. 269 



\ 

full high advanced, \ 

its arms and trophies 

\ 

streaming in all their original us tre, 
<\ 

not a s n P e - erased or polluted, \ 

nor a single s ar obscured ;\ 

/ 
bearing, for its motto, 

I / 

110 such miserable interrogatory, 
\/ 
j as, What is all this worth ? 
/\ 
nor those er words - of delusion and folly, \ 



/\ 
liberty ^ rs and union a * terwards ; 

\ 
but try where, 

\ 
spread all over in characters of living ° l ' 
/ 
a zing on all its ample folds, 

/ 

as they float over the Sea and over the ° n '* 

/ 

j • wind j ,, 1T heaven. 

and in every under the whole ' 

/\ 

that er sentiment, \ 

/ 
I dear to every true American heart, 

25* 



290 EXPOSITION OF THOUGHT. 

liberty an union, \ 

\ 

now, , r ev 

* and j or er, 

m \ 
one and inseparable. 

Webster. 

8. Correspondence. 

The principle of this emphasis, as also its inflexion, is very 
similar to that upon an answer to a question. 

It may be illustrated by a short extract from a Scripture nar- 
rative. A command to Noah being recorded, and the account 
of it extending through four verses, when we come to its fulfil- 
ment, we shall find it natural to emphasize the word did, as 
follows. 

And the Lord said unto Noah : 

Come thou, and all thy house 

\ 
into the ark : * * * * 



\ 
And Noah did 

according to all that the Lord commanded him.\ 

In the above, the most striking place for this emphasis, is on 
" did;" but if the reader prefers, he may place it on commanded. 

The following extract is in the highest degree rhetorical, and 
like that just quoted from Webster, admirably illustrates the 
importance of emphasis and inflexion, in bringing out the true 
meaning and spirit of high wrought composition. In general, 
its emphasis is required by the principle of Reference ; just as 
in the preceding extract on union, regard is continually had to 



LOGICAL EMPHASIS. 291 

those who speculate upon disunion. The writer refers to the 
danger, that those who enjoy the blessings transmitted by the 
Puritans, may naturally forget their sufferings. 

But in one sentence, the emphasis on every phrase, is that of 
Correspondence. This sentence commences, " They did vir- 
tually renounce all dependence upon earthly support," &,c. 
That is, their conduct emphatically corresponded to their pro- 
fessions. 

THE PILGRIMS. 

/ 

In the quiet possession of the blessings transmitted, 

/ 



us; 



we are, perhaps, in danger - offor^ 6 ting, 

/ 
or under iring 

suf • ^ 

the J ferings by which they were obtained. 

\ 
We for get 

that the noble pilgrims lived and endured for 

that, when they came to the wilderness, 

\ 
they said ly, 

/ 
though, it may be, - somewhat quaintly, 

\ 

that they turned their backs on Egypt. 

\ 

They did 

\ 
virtually renounce all dependence - on earthly support : 

\ 
they left 



292 EXPOSITION OF THOUGHT. 

the land of their birth,\ 
of their homes ,\ 

of their fathers' sepulchers ;\ 

\ 
they sacrificed ease, 

\ 

and preferment, 

\ 
and all the delights of sense. ,f- - — 

\ 
And for what ? 

/ 
To open for themselves an earthly paradise ? — 

/ 
to dress their bowers of pleasure, 

/ 
and rejoice - with their wives and children ? 

*' \/ 

they came not for them e ■ 

\ 
they lived not themselves. 

An exiled and suffering - people, 

they came forth 

in the dignity of the chosen servants - of the 

to open the forests to the beam 

\ 
and to the light - of the sun of ri ^ cousness; 

\ 

man. 

to restore ' 



Lord t 






LOGICAL EMPHASIS. 

man . . . . . , . feL 

oppressed - and trampled on - by his lows, 

\ 

J ■ -, Ub 
to religious and civil erty, 

\ 

and equal 

\ 

lev 
to replace the creatures of God on their natural el; 

, . 7 . hills 
to bring down the 

and make smooth - the rough ' 

\ 

which the pride and cruelty of had wrought, 



on the fair creation - of the Father of all. 
\ 

it-i . ,. • ward? 
What was their re 

/ tune? 
For 

.. / tions ? 
aistuic 

/ 

, . . . - home ? 

the sweet chanties - of 

/\ 
No— \ 

VIS 

but their feet - were planted on the mount of ion, 

7 H me j°y> 
and they saw, with sub 

\ 
a multitude of pie, 

where the solitary savage - roamed the forest ;\ 



293 



294 EXPOSITION OF THOUGHT. 

\ 

the forest ished, 

\ 

and pleasant lages and busy ies appeared ; 

/ 

the tangled path 

\ 

expanded - to the thronged way ; 

\ 

, . church 

the consecrated 

was planted - on the rock of heathen sacrifice. 

/\ 

tec 
And, that 

might realize - this vision, \ 
\ 

enter to 

this promised land of faith, \ 

they endured hardship and braved death, \ 

deeming, 

as said one of their company, 

that " he is not worthy - to live at * 

who, for fear of danger, - or death, 

/ 
shunneth his country's - service, 

\ 
or his own - honor ; 

/ 
since death is inevitable, 

\ 
and the fame of virtue immortal." 



LOGICAL EMPHASIS. 295 



If these were the fervors of enthusiasm, 

fed 
! it was an enthusiasm - kindled and 



by the lioly flame that glows on the altar of 

\ 

an enthusiasm - that never a ' 



\ 
God, 



but gathers life and strength, 
as the immortal soul 



\ 



expands - in the image of its Ore tor. 

Miss Sedgwick. 

9. Intensive Emphasis. 

A glowing and ardent writer often falls into a style of com- 
position, in which words are employed with an intensive mean- 
ing. A reader who fails to sympathize with the deep earnest- 
ness of such composition, is apt to omit the intensive emphasis 
I which is required. 

The principle of this emphasis, will be made clear by the 
following facts in regard to language. In every tongue, there 
is a class of words which have either an intense meaning in 
themselves, or indicate that those which they qualify, are used 
intensively. 

The most common in English, are : even, very, and self; 
the adverbs at all, altogether, only, solely, wholly, and univer- 
sally ; the pronouns whatever and whosoever, when placed after 
their nouns; and, occasionally, adjectives in the superlative 
degree. 

The intensive emphasis indicated by the word even, is almost 
always effected by a strong falling inflexion; and it will be 



296 



EXPOSITION OF THOUGHT. 






found a useful rule to employ such an inflexion, whenever this 
word occurs ; or whenever it would be allowable to introduce 
it, for the sake of setting forth the full force of a passage. 
Sometimes, indeed, a circumflex takes the place of a simple 
falling slide ; but, in such cases, the first or downward slide, 
indicates the intensive force, and the rising, the suspension of 
the sense. 

The first example which we furnish, has its intensive empha- 
ses indicated by even, by the word whole, and by a superlative 
degree. 

An exhibition - of the present state - of the mechanical arts, 

\/ 
is a field much too wide even to be entered on this occasion. 

\ 
The briefest outline even. 



would exceed its limits ; \ 

and the whole subject 

will, regularly, fall to hands - much more able to sustain it. 

The slightest glance, however, 

must convince us, 

that mechanical power, and mechanical skill, 

as they are now exhibited, in Europe and America, 

mark an epoch - in human history, 

worthy of all admiration. 

Webster. 

Our next extract owes the whole of its peculiar force and sig- 
nificancy to intensive words, which require a correspondent 
style of emphasis. 



LOGICAL EMPHASIS. 297 



ATHEISM. 

\ 

But, indeed, it is heroism no longer, 

\ 

if the atheist knows - that there is no God. 

This intelligence 

involves the very attributes - of divinity, 

while a God is denied. \ 

For unless the atheist is omnipresent, 

unless he is, at this moment, in everyplace - in the universe, 

he cannot know but that there may be, in some place, 

manifestations of a Deity, 

\ 
by which even he would be overpowered. 

If he does not know, absolutely, every agent - in the universe, 
the one that he does not know, 

may be God. 7""" " 

\ 

If he is not himself the chief agent - in the universe, 

\ 

and does not know what is so, 

that which is so 

may be God. \ 

[constitute universal truth, 
If he is not in absolute possession of all the propositions - that 

\/ 
the one which he icants 

may be that there is a God. 

26 



298 EXPOSITION OF THOUGHT. 

If he cannot, with certainty, 

assign the cause - of all that he perceives to exist, 

that cause 

may be a God. \ 

[measurable ages that are past, 
If he does not know every thing that has been done - in the im- 

some things may have been done 

by a God. 

\ 
Thus, unless he knows all things, 

\ 
that is, precludes another Deity - by being one himself, 

he cannot know, 

that the Being - whose existence he rejects, 

does not exist. 

John Foster. 

Our next extract is from the same powerful writer. To de- 
monstrate the correctness of our emphases, we insert a blank 
•parenthesis in places where the word even might be inserted. 
Most of the emphases that are not intensive, exhibit antithetical 
contrasts. 

CHARACTER OF HOWARD. 

In decision of character, 
no man ever exceeded, 
or ( ) ever will exceed 
the late illustrious Howard. 
The energy of his determination was so great, 



LOGICAL EMPHASIS. 299 

that if, instead of being habitual, / 

[casions, 

it had been shown - only for a short time, on particular oc- 

\ 
it would have appeared ( ) a vehement impetuosity ; 

but by being unintermitted, 

it had an equability - of manner, 

\ 
which scarcely appeared to exceed the tone of ( ) a calm con- 
stancy, 
it was so totally the reverse 

/ 
of any thing like turbulence, 

\ 

or agitation. 

It was the calmness - of an intensity kept uniform 

\/ 

( ) by the nature - of the human mind, 

/ 
forbidding it - to be more, 

\/ 
and ( ) by the character - of the individual, 

\ 

forbidding it to be less. 

\ 

( ) The habitual passion 

/ 
of his mind, 

was a measure of feeling 

\ 
almost equal ( ) to the temporary extremes - and paroxysms 

\ 
of common minds : 

\ 
as a great river, 

in its customary state, 



300 EXPOSITION OF THOUGHT. 

/ 

is equal to a small or moderate one, 
( ) when swollen to a torrent. 

The moment - of finishing his plans, in deliberation, 

- / 

and commencing them, in action, 

\ 

was ( ) the same. 

\ 
We ( ) wonder what must have been the amount 

of that bribe, 

in emolument, or pleasure, 

\ 
that would have detained him ( ) a week 

/ 

inactive, 

after their final adjustment. 

( ) The law which carries water down a declivity, 

was not more unconquerable - and invariable, \ 

[object. 
than ( ) the determination of his feelings - towards the main 

The importance - of this object, 

held his faculties in a state of excitement, 

\ 
which was ( ) too rigid to be affected by lighter interests, 

and on which, therefore, the beauties of nature and art 

had no power. 

\ 
He had no leisure feeling which he could ( ) spare, 

/ 
[sive scenes which he traversed ; 
to be diverted among the innumerable varieties of the exten- 






LOGICAL EMPHASIS. 301 

all his subordinate feelings 

• 

lost their separate existence, 

by falling into the grand one. 

Such a sin against taste 

is( ) very far beyond the reach of co?«wow saintship to commit. 

It implied an inconceivable severity of conviction 

\ 
that he had ( ) one thing to do. 

and that he who would do some one great thing , 

in this short life, 

[his forces, 
must apply himself to the work, with such a concentration of 

as, to idle spectators, 

who live only to amuse themselves, 

\ 
looks ( ) like insanity. 

His attention was so strongly and tenaciously fixed on his object, 

\ 
that even at the greatest distance, 

like the Egyptian pyramids to travellers, 

it appeared to him - with a luminous distinctness, 

\ 
as if it had ( ) been nigh, 

and beguiled the toilsome length of labor and enterprise, 

by which he was to reach it. 

It was so conspicuous before him, 
26* 



302 EXPOSITION OF THOUGHT. 

\y 

that not ( ) a step 

\ 
deviated from the direction, 

\/ 

and ( ) every moment, and every day, 

was an approximation. 

[the end, 
As his method referred every thing he did and thought to 

/ 
and as his execution did not relax for a moment, 

he made the trial, so seldom made, 

what is the utmost effect, 

which may be granted ( ) to the last possible efforts 

\ 
of a human agent ; 

and, therefore, what he did not accomplish \ 

[activity, 
he might conclude - to be placed beyond the sphere of mortal 

and calmly leave 

\ 
( ) to the immediate disposal of Omnipotence. 

John Foster. 
10. Emphasis of Remonstrance. 

This is a common mode of enforcing an argument or a state- 
ment. The principle is really the same as that of Reference ; 
the only difference being that the reference is to nothing more 
than the opposite of what is affirmed, without implying an ac- 
tual adversary, or generally prevalent opinions. 

In this style of emphasizing, the inflexions are executed with 
wide skips, which make the voice vary strikingly in pitch. In- 
tensive emphases are also of frequent occurrence. 



LOGICAL EMPHASIS. 303 

The following extract, like many others in this volume, has 
been found extremely interesting, when delivered in an appro- 
priate manner, but uninteresting when spoken without the pe- 
culiar inflexions which it demands. Like that on " the Pil- 
grims," it might be given to illustrate what might be called 
Rhetorical Emphasis; using such a term to describe the pecu- 
liar illustration and enforcement which a good reader bestows 
upon certain forms of composition, although the mere sense can 
be exhibited without striking emphasis. 

SOCIAL INFLUENCE OF RELIGION. 

\ 

Religion is a social concern ; 

\ 

for it operates powerfully on society, 

contributing, in various ways, 

\ 
to its stability and prosperity. 

/ 
Religion is not merely - a private affair ;\ 

\ 
the community is deeply interested in its diffusion ;\ 

for it is the best support of the virtues and principles 

\ 
on which the social order rests. 

Pure and undefiled religion 

\ 
in to do good ; 

and it follows, very plainly, 

/ 
that, if God be the author and friend of society, 

then the recognition of him 

\ fa 

must enforce all soiial duty, fJ^l 



304 EXPOSITION OF THOUGHT. 

and enlightened piety 

\ 
must give its whole strength - to public order. 

/ 
Few men suspect, 

\ 

perhaps no man 

\/ 

comprehends 

\ 
the extent of the support given by religion to every virtue. 

\ 

No man, perhaps, is aware, % 

how much our moral and social sentiments 

\ 
are fed from this fountain ; 

\ 

how powerless 

/ 

conscience would become, 

\ 
without the belief of a God; 

how palsied 

/ 
would be human benevolence, 

/ 

were there not the sense - of a higher benevolence 

\ 

to quicken and sustain it ; 

\ 
how suddenly the whole social fabric - would quake, 

and with what a fearful crash 

\ 
it would sink into hopeless nan, 

were the ideas of a Supreme Being, 

of ac count ablcness, \ 



LOGICAL EMPHASIS. 305 

and of a future life, 

\ 
to be utterly erased from every mind. 

\/ 
And, let men - thoroughly believe, 

/ 

that they are the work and sport of chance; 

/ 
that no superior intelligence 

/ 
concerns itself with human affairs; 

that all their improvements 

/ 
perish forever, at death ; 

that the weak have no guardian, 

/ 
and the injured no avenger ; / 

[the public good; 
that there is no recompense - for sacrifices to uprightness and 

/ 
that an oath is unheard in heaven ; 

/ 

that secret crimes have no witness but the perpetrator ; 

/ 
that human existence has no purpose, 

/ 
and human virtue no unfailing friend; 

/ 

that this brief life is every thing - to us, 

/ 

and death is total, everlasting - extinction ; 

/ 

once let them thoroughly - abandon religion, 

/ 

and who can conceive, 

\ 
or describe, 

\ 
the extent of the desolation - which would follow ! 



306 EXPOSITION OF THOUGHT. 

We hope, perhaps, 
\ 
that human laws, 

\ 
and natural sympathy, 

would hold society together. 

As reasonably - might we believe, 

\ 
that, were the sun 

\ 
quenched in the heavens, 

\ 

our torches would illuminate, 

and our fires quicken and fertilize the creation. 

\ 
What is there - in human nature, 

to awaken respect and tenderness, 

\ 
if man is the unprotected insect of a day ? 

\ 
And what is he more, 

/ 

if atheism be true 1 

/ 
Erase all thought and fear of God, from a community, 

\ 
and selfishness and sensuality, 

\ 
would absorb the whole man. 

Appetite, knowing no restraint, 

and suffering, having no solace, or hope, 

\ 
would trample in scorn, 

/ 

on the restraints - of human laws. 



EMPHASIS OF IMAGINATION. 307 

Virtue, 

duty, 

/ 
\ principle, 

\ 
would be mocked and spurned, 

\ 
| as unmeaning sounds. 

\ 
i A sordid self interest 

1 \ 

| would supplant every other feeling ; 

\ 
! and man would become, in fact, 

I \ 

what the theory of atheism - declares him to be — 

\ 
a companion for brutes. 

Channing. 

emphasis of imagination. 

In addition to the course of reasoning in a composition, the 
pictures displayed before the imagination, demand a prominent 
exhibition. To a great extent this will be done, by a correct 
grammatical and logical emphasis, because this will frequently 
fall on the words that express the most important images. 
But the employment of a vivid state of imagination, will often 
enable an eloquent reader or speaker to present striking pictures 
of scenes and illustrations, which a merely logical state of mind 
will fail of exhibiting. 

Yet however imaginative or poetical the subject and language 
of a composition, the primary effort must be to exhibit the 
logical course of thought. Every composition requires more or 
less of the inflexions and emphases which we have hitherto de- 
scribed. The emphasis of imagination is properly an enforce- 
ment of such words as do not influence the course of reasoning. 



308 EXPOSITION OF THOUGHT. 

It follows therefore, that it is never given by emphatic inflex- 
ions. It is in fact executed solely by means of quantity, pause, 
and variations in the loudness, or in the quality of the voice. 

By these means, some words are made more prominent than 
others, so that, in the mental picture, the images which they 
describe, stand out in bold relief. Having already remarked 
upon the necessity for taste and judgment in this kind of em- 
phasis, the examples which we shall furnish, may not always 
exhibit such emphatic words as every one will approve. 

We shall exhibit this emphasis, by separating the letters of 
words, as has already been done in the chapter on rhythm. 
We shall thus have the means of indicating, not only such 
words as have no logical or grammatical inflection, but also 
those which answer the double purpose of inflected emphasis, 
and that of imagination. 

There is a peculiar appropriateness in this mode of marking, 
inasmuch as the emphasis of imagination almost always pro- 
longs the utterance, and produces a slowness in the rhythm. 

EMPHASIS OF EMOTION. 

Under this head are not to be classed the peculiar tones of 
different passions, but a more striking presentation of words 
which describe emotions and represent them to the imagination. 

Readers of taste and judgment will give different degrees of 
enforcement to such words, according to principles that are 
purely artistical. 

This emphasis is therefore the same in principle as the pre- 
ceding. In the one, emotions, and in the other, images are 
contemplated by the imagination. It will be marked in the 
same way, and our extracts will illustrate both. 

It is obvious that by this classification, we accomplish the 
necessary object, of avoiding all intermingling of the subject of 
practical speaking, with dramatic elocution. The distinction 
between the two, has been alluded to in our introduction, and 



EMPHASIS OF EMOTION. 309 

is essential to be kept in view. An orator is permitted some- 
times to introduce the peculiar manner of dramatic elocution, 
as was successfully practised by Whitefield ; but he will never- 
theless, run great risk in attempting to do so, unless, as was the 
case with that eloquent clergyman, he has a natural talent for 
acting. 

When, however, a reader is strongly interested in relating or 
describing an emotion, he will naturally sympathize with it in 
some degree. This sympathy will color his delivery with more 
or less of the peculiar tone of the emotion. Suppose, for in- 
stance, he is reciting Collins's Ode on the Passions. With 
perfect propriety, he may calmly describe the several passions, 
while he yet presents a vivid picture of the acts of each. The 
ode is in fact a narrative, and is to be read as such. In a more 
animated style of delivery, he may sympathize with each pas- 
sion as he describes its acts ; thus approximating his manner to 
dramatic elocution. On the other hand, a purely dramatic de- 
livery of the ode, proceeds in a different style, and requires that 
the reciter personate each passion, in the same manner as when 
acting in a play. It is a confused state of mind in reference to 
this distinction, which produces the general failure in the at- 
tempts of elocutionists to render this ode interesting in public 
recitation. If read or recited strictly as a narrative description, 
it is admirably adapted for public display. It is well fitted also, 
for a bold style of recitation. But to deliver it as a declamation, 
and with an affected imitation of the manner of each passion, 
constitutes a style which has no foundation, either in taste or 
in common sense. 

EXAMPLES FOR PRACTICE. 

The emphasis of imagination and that on words describing 
emotion, being chiefly required in narration and description, 
the subsequent extracts are of this nature. 

27 



310 EXPOSITION OP THOUGHT. 

We mark them upon the following principles. Mere empha- 
ses of grammar and logic are indicated by italics and inflexions. 
A peculiar dwelling on a word, while the mind contemplates 
the picture or the emotion which the word describes, is shown 
by separating the letters. When two or more of these princi- 
ples combine to produce the emphasis, their appropriated indi- 
cations are employed in conjunction. This happens with the 
greater portion of the emphases. 

The extract immediately following, may be considered as ap- 
pealing almost exclusively to the imagination. The emotion 
which it will excite, will be simply that admiration which ne- 
cessarily accompanies the description of splendid scenes. 

THE TOURNAMENT IN IVANHOE. 

The exterior - of the lists 

\ 
was, in part, occupied with temporary galleries , 

spread with tapestry and carpets, 

and accommodated with cushions , 

\ 
for the convenience - of those ladies and nobles, 

who were expected to attend upon the tournament. 

A narrow space - betwixt these galleries and the lists, 

gave accommodation - for yeomanry , 

and spectators of a better degree - than the mere vulgar, 

and might be compared to the pit - of a theatre. 

The promiscuous multitude 

\ [the purpose, 

arranged themselves - upon large banks of turf ', prepared for 

which, aided by the natural elevation of the ground, 

enabled them to look over the galleries, 






EMPHASIS OF IMAGINATION. 311 

\ 
and obtain a f a i r view - into the lists . 

Besides the accommodation - which these stations afforded, 

many hundreds 

\ 
had perched themselves on the branches of the trees, 

which surrounded the meadow ;\ 

\ 

and even the steeple of a country church, at some distance, 

was crowded with spectators. 

The lists 

noic presented a most splendid spectacle. 

The sloping galleries 

[and beautiful , 
were crowded with all that was noble, great, wealthy 

X 
in the northern, and midland - parts - of England; 

[spectators, 
and the contrast - of the various dresses -of these dignified 

/ 

rendered the view as gay, 

\ 
as it was rich; 

while the interior and lower space, 

[England, 
filled with the substantial burgesses and yeomen - of merry 

formed, in their more plain attire, 

\ 
a dark fr ingc , or b or der , 

/ 

around this circle of brilliant embroidery, 

relieving, and at the same time, 5 et ti ng off - its splendor. 
The inclosed space - at the northern extremity of the lists, 
large as it was, 



312 EXPOSITION OF THOUGHT. 

\/ 

was now completely crowded 

\ 

with knights - desirous to prove their skill against the challengers; 

and when viewed from the galleries, 

\ 
presented the appearance - of a sea - of waving plumage , 

\ 
intermixed with gl is ten ing helmets, and tall lances, 

to the extremities of which 

\ [breadth, 

were, in many cases, - attached sm al 1 pennons, of about a span's 

which, fluttering in the air, as the breeze caught them, 

joined with the restless motion of the feathers, 

to add liveliness to the scene. 

Scott. 

The emphases in the following narrative, are on images and 
also on emotions contemplated by the imagination. 

CADIZ DURING THE BATTLE OP TRAFALGAR. 

We have frequently heard people relating, 
with indescribable emotions, 

the fears, the hopes, the agi tati on s and the mo u r n ings, 
which occupied those few but interesting days, 
when the united fleets - of France and Spain 
sailed from Cadiz, 

amidst the prayers - and ben e dictions of the people, 

/ 

with the vain expectation of vanquishing 

the f o e - who had so long held them imprisoned 

.\ 

within their own fortifications . 



EMPHASIS OF IMAGINATION. 313 

The day they sailed, 
all was expectation and anxiety. 

The succeeding day 

\ 

increased the suspense, 

and wound up the feelings of the people 

\ 
almost to a state of phrenzy . 

The third day, 

brought intelligence, 

that the hostile fleets were approaching each other, 

with all the preparations of determined hostility. 

The ships were not visible from the ramparts , 

but the crowds of citizens- assembled there, 

had their ears assailed 

\ 
by the roaring of the distant cannon; 

\ 

the anxiety of the females bordered on insanity; 

\ . 

but more of despair , 

/ 
than of hope , 

was visible in every countenance. 

At this dreadful moment, 

a sound - louder than any that had preceded it, 

and attended with a column of dark smoke, 

\ 
announced that a ship had exploded. 

The madness of the people 

\ 
was turned to rage against England; 

27* 



314 EXPOSITION OF THOUGHT. 

and exclamations burst forth, 

denouncing instant death, 

to every man who spoke the language - of their enemies. 

The storm that succeeded the battle, 

/ 
tended only, to keep alive, through the night, 

\ 

the horrors of the day , 

and to prepare them 

\ 

for the melancholy spectacle - of the ensuing morning, 

when the wrecks - of their floating bulwarks 

were seen on shore, 

and some - that had escaped the battle and the storm, 

en-tering the bay; 

to shelter themselves 

from the pursuit - of their victorious enemy. 

Jacobs. 

A critic has quoted the following, as the most magnificent 
passage in modern oratory. 

HYDER ALL 

When, at length, 

Hyder Ali found 

that he had to do with men who either would sign no convention, 

or whom no treaty and no signature could bind, / 

[itself, 
and who were the determined enemies - of human intercourse 



he decreed to make the countr 



EMPHASIS OF IMAGINATION. 315 

possessed by these incorrigible, - and predestinated criminals, 
a memorable example - to mankind. 
He resolved 

in the gloomy recesses of a mind - capacious of such things, 

\ 
to leave the id hoi e C arnatic , 

\ 

an everlasting monument of vengeance; 

\ 
and to put perpetual desolation 

as a barrier, 

between him, and those against whom 

the faith - which holds the moral elements of the world - together, 

was 710 protection. 

He became, at length, so confident - of h\s force, 

and so collect ed - in his might, 

\ 

that he made no secret - what ev er , 

of his dreadful resolution. 

Having terminated his disputes - with every enemy - and every rival, 

who 

buried their mutual animosity, 

in their common interest - against the creditors of the nabob of Arcot, 

he drew from every quarter, 

\ 

whatever a s av a g e fer o city could add 

. / 
to his new rudiments -in the arts of destruction, 

and compounding all the materials 

\ 

of fury, havoc, and desolation, 



316 EXPOSITION OF THOUGHT. 

/ 
into one black cloud, 

he hung, for a while, 

on the d e c 1 i v i t i e s - of the mountains. 

Whilst the authors - of all these evils, 

/ 

were idly, and stupidly, gazing - on this menacing meteor, 

which blackened -all the horizon, 

\ 
it suddenly - burst , 

and poured down the whole of its contents, 

on the plains of the C a r n a t i c . 

Then, ensued a scene of w o e , 

the like of which, 

/ 

no eye - had seen, nor heart conceived, \ 

and which no tongue could adequately tell. 

All the horrors of war,- before known, - or heard of, 

were mercy to that new havoc. \ 

\ 
A storm of universal fire, 

/ 

blasted every field, 

/ 

consumed every house, 

\ 

and destroyed every temple. 

The miserable inhabitants, 

flying from their flaming villages, 

\ 

in part, were slaughtered ; 

others 



EMPHASIS OF IMAGINATION. 317 

/ 

[function, 

without regard to 5 ex, to age, or rank, or sacredness of 

/ 

fathers torn from children, 

/ 
husbands from wives, 

/ 

enveloped -in a whirlwind of cavalry, 

and amidst the goading spears of drivers, 

/ 
and the trampling' of pursuing horses, 

were swept into captivity 

in an unknown and hostile land. 

/ 
Those who were able to evade this tempest, 

fled to the walled cities. 

/ 
But escaping from fire, sword, and exile, 

\ 

they fell- into the jaws of fa mine . 

\ 

For eighteen months, 

\ 

without intermission, 

this destruction 

\ 
raged from the gates of Madras to the gates of Tanjore; 

/ 

and so complet ely , 

did these masters in their art, 

Hyder Ali and his more ferocious son, 

/ 

absolve themselves - of their impious vow, 

that when the British armies 
traversed, as they did, the Carnatic, 



318 EXPOSITION OF THOUGHT. 

for hundreds of miles, in all directions, 

through the whole line of their march, 

\ 

they d i d not see one man, 

\ 
not one woman, 

\ 

not one child, 

\ 
not one four-footed beast, 

of any description whatev er . 

One dead uniform silence, 

reigned over the whole region. 



The following extract is, in its structure, argumentative. It 
abounds also in intensive emphases. Still the predominant ap- 
peal is to the imagination, and to emotions contemplated by the 
imagination rather than directly felt. 

It consists of three passages preached before the legislature 
of Connecticut, in the year 1813. The three separate passages 
were, we believe, first placed together by Mr. J. E. Lovell, who 
is so well known as an able elocutionist. 

Without a knowledge of the time when the sermon was de- 
livered, the passage might be regarded as nothing more than a 
sublime rant. But it should be remembered that the year 1813 
was that in which the power of Bonaparte was at its height, and 
all Europe was banded against him ; a million of armed men 
contending on the plains of Germany alone. A nearer approx- 
imation is perhaps made in this passage, to the energy of the 
Sacred Prophets, than in any other modern composition. 



EMPHASIS OF IMAGINATION. 319 

LOSS OF NEW ENGLAND MORALITY. 

The crisis has come. 

\ . 
By the people - of this generation, 

\ 

by ourselves, probably, 

the amazing question is to be decided, 

whether the inheritance of our fathers 

/ 

shall be preserved, 

\ 

or thrown away ; 

whether our Sabbaths 

/ 

shall be a delight, 

\ 
or a loathing; 

whether the taverns, on that holy day, 

/ 

shall be crowded with drunkards, 

or the sanctuary of God 

\ 
with humble toorshippers; 

whether riot and profaneness, 

/ 

shall fill our streets; 

/ 

and poverty , our dioellings, 

. / 
and convicts, our jails, 

/ 

and violence , our land, 

\ 

or whether industry, 

\ 
and temperance, 

and righteousness, 



320 EXPOSITION OP THOUGHT. 

shall be the stability of our times :\ 
whether mild laws 

shall receive the cheerful submission - of fr e e m e n , 

/ 
or the iron rod - of a tyrant 

\ 
compel the trembling homage - of slaves. 

\ 

Be not deceived. 

/ 
The rocks and hills of New England, 

\ 
will remain till the last conflagration. 

/ 

But let the Sabbath be profaned with impunity, 

/ 

the worship of G o d be abandoned, 

/ 

and the government and religious instruction of children neglected, 

/ 

and the streams of intemperance be permitted to flow, 

\ 
and her glory will depart. 

\ 
The wall of fire will no longer surround her; 

\ 
and the munition of rocks will no longer be her defence. 

The hand that overturns our laws and temples, 

is the hand of death 

\ 
unbarring - the gates of Pandemonium, 

and letting loose upon our land, 

\ 

the crimes and miseries of hell. 

\ 
If the Most High should stand aloof, 

and cast not a single ingredient into our cup of trembling, 

/ 
it would seem to be full of superlative woe. 



EMPHASIS OP IMAGINATION. 321 

But He will not stand aloof. 

/ 

As we shall have begun an open con tro v ersy - with Him, 

He will contend openly with us. 

And never, 

\ 

since the earth stood, 

has it been so fearful a thing, 

for nations to fall into the hand - of the living God. 

The day of vengeance is at hand ; 

the day of judgment has come; 

\ 
the great earthquake which sinks Babylon, 

\ 
is shaking the nations , 

and the waves of the mighty commotion 

are dashing on every shore. 

/ 

Is this, then, a time to remove the foundations, 

/ 
when the earth itself is shaken? 

/ . 

Is this a time, to forfeit the protection of God, 

/ 

when the hearts of men are failing them for fear, / 

[earth? 
and for looking after those things - which are to come upon the 

/ 
Is this a time, 

/ 

to run upon his neck and the thick bosses of his buckler 

/ 

when the nations are drinking blood, 

/ 
and fai nting , 

/ 
and passing away, in his wrath ? 

28 



322 EXPOSITION OF THOUGHT. 

/ 

Is this a time to throw away the shield of fait k , 

/ 

when His arrows are drunk with the blood of the slain? — 

/ 
to cut from the anchor of hope, 

/ 
when the clouds are collecting, 

/ 

and the sea and the waves are roaring, 

/ 
and thunder s are uttering their voices, 

/ 

and lightnings blazing in the heavens, 

/ 
and the great hail is falling from heaven upon men, 

/ / / 

and every mountain, sea, and island, 

/ 

is fleeing in dismay from the face of an incensed God? 

Dr. Beecher. 

ADDRESS TO MONT BLANC. 

/ 
Hast thou a charm || to stay the morning star , 

/ 

In his steep course ? || so long he seems to pause, 

On thy bald awful head, || OChamouny! 

The Arvi and Arv eir on , || at thy base, 

[ form , 
Rave ceaselessly, while thou, dread mountain 

R i s e s t || from forth thy silent sea of pines 

\ 
How silently! | Around thee, and above, 

\ \ 

Deep is the sky, and black: \\ transpicuous deep, 

\ 

An ebon mass! | methinks thou piercest it, 

As with a wedge ! || But when I look ajain, 

\ \ 

It seems thine own calm home, \\ thy crystal shrine, 



EMPHASIS OF IMAGINATION. 323 

Thy habitation || from eternity. 

/ 

dread and silent form! || I gazed on thee, 

Till thou, || still present to my bodily eye, 

Didst vanish from my thought. || Entranced in prayer, 

1 worshipped the invisible || alone. 

IV ho || sank thy sunless pillar s in the carth?\ 
Who || filled tliy countenance with rosy light?\ 

Who || made thee fa th er of perpetual str earns ?\ 

\ 
And you, ye five wild torrents l| fiercely glad,\ 

Who c ailed you for th \\ from night and utter death? 

/ \ 

From darkness, let you loose, || and icy dens, 

\ 
Down those precipitous, \\ black, jagged rocks , 

Forever shattered, || and the same for ev er ?\ 

\ 

Who gave you | your invulner able life, 

\ \ \ \ 

Your strength , your speed, || your fury, and your joy, 

/ 
Unceasing thunder || and eternal foam? — 

/ / 

And who commanded, || and the silence came, 

\ 
"Here shall the billows stiffen \\ and have rest?" 

\ / 

Ye ice-falls ! \\ y e , that, from yon dizzy heights, 

/ 

Adown enormous ravines || steeply slope, 

/ 
Torrents, methinks, |[ that heard a mighty noise, 

/ 

And stopped, at once, \\ amidst their maddest plunge, 

/ 

Motionless torrents.' | silent cataracts! 



324 



EXPOSITION OF THOUGHT. 



Who made you glorious || as the gates of heaven, 

\ \ 

Beneath the keen, full moon? | Who bade the sun 

\ \ 

Clothe you with rainbows? || Who, with lovely flow ers 

/ \ 

Of living blue, \\ spread garlands at your feet? 

v. .-"\ - \ . 

God! God! \ the torrents like a shout of nations 

\ . \ 

Utter; || the ice plain bursts, and answers, God! 

\ [voice, 

God! sing the meadoio streams, || with gladsome 

\ 

And pine groves, || with their soft and soul -like sound. 

\ [God! 

The silent snow-mass , | loosening, || thunders, 

Ye dreadless flower s , \\ that fringe the e te r n a 1 fr o s t ! 

\ \ 

Ye wild -goats, || bounding by the eagle's nest! 

\ \ 

Ye eagles, \\ playmates ofthe mountain blast! 

\ 
Ye lightnings, l| the dread arrows ofthe clouds, 

\ 

Ye signs and wonders \\ ofthe elements! 

Utter forth God! \\ and/iZZ the hills with praise. 

Coleridge. 



CHAPTER IV. 

TRANSITION BETWEEN PARAGRAPHS. 

It being a primary requisite of a good delivery, that it exhibit 
the course of thought throughout a composition, the division 
into paragraphs must be manifested to the ear, as clearly as it is 
shown by the broken lines in printing, to the eye. 






TRANSITION BETWEEN PARAGRAPHS. 325 

As each paragraph possesses a true unity, it must be uttered 
as a whole. The winding off required at its close, has already 
been treated of, under the head of Cadence; a careful manage- 
ment of which must of course be the first object of attention, in 
exhibiting the transition to the next paragraph. 

The commencement of a new one, must if possible, be given 
with a marked variation of manner. This is sometimes difficult 
to accomplish, when, as often happens, the new paragraph does 
not begin with any considerable change of subject or style. If 
indeed it introduces a different course of thought, or a decided 
variation in style, and if in addition, these are made prominent 
by words of strong emphasis, no difficulty need be experienced. 
In such cases, nothing more is required than a close adherence 
to the demands of the subject and language. 

When there is no sudden or striking change of thought or 
language, the reader or speaker is thrown upon his skill in de- 
livery, and must make a particular and careful effort to render 
manifest the completion of one paragraph, and the commence- 
ment of another. 

Failures in this respect, generally begin with a neglect of the 
deliberate close and the decided pause, which are required in 
the extended cadence of the preceding paragraph. Let these 
be carefully executed. 

Then let the change of position and attitude, and the 
actual rest which a speaker naturally indulges, be en- 
couraged, and indeed studied. 

In general, no pains ought to be taken to conceal them ; 
since the audience also need the relief which they afford. 

If the speaker or reader has actually rested between two 
paragraphs, his voice, and indeed his whole delivery, will ex- 
hibit a certain fresh excitement upon entering on the next pas- 
sage, which will almost be sufficient, of itself, to mark the 
transition. 

28* 



326 EXPOSITION OF THOUGHT. 

Yet in following this direction, care must be exercised not to 
fall into a monotonous, yet common, habit, of beginning every 
paragraph in a loud and high tone, and one of such a sort as 
indicates either an undue excitement, or nothing more than 
freshness of animation. 

Let a careful effort be made, to exhibit a tone of en- 
tering upon a new and different train of ideas. 

The tone actually used in any particular case, will be made 
up of a complication of various slight differences of modulation, 
yet it is not necessary to their exhibition that we know at the 
time, what modulations we are actually using. An earnest ef- 
fort to accomplish the desired effect, will be sufficient to pro- 
duce them. 

In short, let the reader or speaker, adhere closely to the de- 
mands of the words he is at any one time uttering. 

But let him also study to vary, as much as possible, 
his method of commencing paragraphs, by means of other 
changes than those of inflexion and emphasis. 

As a general rule, we must aim at striking variations. It is 
most easy, and in many respects most natural, to proceed in 
reading or speaking, with an unvarying uniformity. The in- 
creased exertion necessary for large audiences, makes this 
tendency so strong, that nothing but intentional skill, united to 
a high degree of self-possession, can counteract it. 

An instructer finds the subject of the present chapter, ex- 
tremely difficult to teach. Even after the student has faithfully 
practised himself, in pausing between the divisions of his dis- 
course, and in exhibiting a decided transition of manner on a 
few words, he is yet liable, after uttering not more than one or 
two lines, to revert to the same modulations, attitudes and ges- 
tures, which he had been previously using. 

Especially, therefore, in delivery adapted to large rooms, 
must not only a change of manner be exhibited at the begin- 



TRANSITION BETWEEN PARAGRAPHS. 327 

ning of a paragraph, but be persevered in during its continu- 
ance, and be kept as decidedly peculiar, as the subject and 
language will permit. 

As it is often a matter of little consequence, in writing or 
printing, whether a passage be considered as a single paragraph, 
or be subdivided into two or more, it will be found a good prac- 
tical rule, to divide a composition for speaking, into as many as 
the course of thought will admit. But when this is done, the 
cadences will not be in every case low and formal ; the pauses 
also, will sometimes be short. 

In part first, we furnished, under the head of contrasts of 
force, an extract which will practise in transition, and the lim- 
its of the volume will allow of inserting but one more. 

The example which follows, is selected not on account of the 
transitions being very striking, but because it admits of being 
divided into short paragraphs. 

EXTRACT FOR PRACTISING TRANSITION. 

Shall we break the treaty 1 

/ 
Sir, from argument calculated to produce conviction, 

\ 
I will appeal directly to the hearts of those who hear me,\ 

and ask, 

\ 
whether it is not already 

\ 

planted there ? 

I resort, especially, 

\ 
| to the convictions of the western gentlemen, 

\ 
whether, 

/ 
supposing no posts, 



328 EXPOSITION OF THOUGHT. 

/ 

and no treaty, 

\ 
the settlers will remain in security ? 

/ 
Can they take it upon them to say, 

that an Indian peace, under these circumstances, 

/ 
will prove firm ? 

\ 
No, sir, 

\ 
it will not be peace, 

\ 
but a sioord. 

\ 
It will be no better than a lure, 

\ 
to draw victims within the reach of the tomahawk. 

On this theme, 

\ 
my emotions are unutterable. 

S 

If I could find words for them, 

/ \/ 

if my powers bore any proportion to my zeal, 

/ 
I would swell my voice to such a note of remonstrance, 

\ 

it should reach every log house beyond the mountains , 

I would say to the inhabitants, 

\ \ 

wake from your false security : 

your cruel dangers, 

/ 
your more cruel apprehensions, 

\ 
are soon to be renewed; 



TRANSITION BETWEEN PARAGRAPHS. 329 

in the day time, 

\ 
your path through the woods will be ambushed: 

the darkness of midnight 

\ 
will glitter with the blaze of your dwelling s . 

/ 
You are a fa the r — 

\ 
the blood of your sons shall fatten your cor nf eld: 

/ 
you are a mo the r — 

the w ar-whoop shall wake the sleep of the cradle. 

On this subject 

/ 
you need not suspect any deception on your feelings. 

\ 
It is a spectacle of horror that cannot be overdrawn. 

/ 
If you have nature in your hearts, 

it will speak a language 

/ 
compared with which, all 1 have said, or can say, 

\ 

will be poor and frigid. 

Will it be whispered, 

/ [tionof the frontiers? 

that the treaty has made me a new champion - for the protec- 

\ 

It is known 

\ 
that my voice as well as vote, 

\ 
has been uniformly given, 

in conformity with the ideas I have expressed. 



330 EXPOSITION OF THOUGHT. 

\ 

Protection is the right of the frontiers ; 

\ 

it is our duty to give it. 

\ , 
W7io will accuse me of wandering out of the subject 1 

\ [ures ? 

Who will say that I exaggerate the tendencies of our meas- 

Will any one answer by a sneer , 

/ 
that all this is idle preaching ? 

/ 
Will any one deny, that we are bound, 

and I would hope, to good purpose, 

/ 
by the most solemn sanctions of duty, 

/ 
for the vote we give ? 

/ 
Are despots, alone, / 

[blood of their subjects ? 
to be reproached with unfeeling indifference to the tears and 

/ 
Are republicans unresponsible 1 

[cabinets and kings, 
Have the principles upon which you ground the reproach upon 

/ 
no practical influence ; 

/ 

no binding force ? 

/ 
Are they merely themes of idle declamation, 

/ 
introduced to decorate the morality - of a neiospaper essay, 

/ 

[that state house ? 
or to furnish pretty topics of harangue from the windows of 

\ 

I trust it is neither too presumptuous, nor too late to ask ; 



TRANSITION BETWEEN PARAGRAPHS. 331 
\ 

Can you put the dearest interests of society at risk, 

without guilt t 

\ 
and without remorse! 

It is vain to offer as an excuse, 

\/ 
that public men are not to be reproached, 

/ 
for the evils that may happen to ensue from their measures. 

Those I have depicted 

\ 
are not unforeseen ; 

/ 
they are so far from inevitable, 

\ 

we are going to bring them into being by our vote. 

\ 

We choose the consequences, 

/ 
and become as justly answerable for them, 

\ 
as for the measures that we know will produce them. 

By rejecting the treaty, 

\ 
we light the savage fires, 

\ 

we bind the victims . 

This day we undertake to render account \ 

[make, 
to the widows and orphans whom our decision will 

\ 
to the wretches that will be roasted at the stake. 

\ 
to our country, 

and I do not deem it too serious, to say, 



332 



EXPOSITION OF THOUGHT 



/ 

to conscience, 

\ 
and to God. 

\ 
We are answerable ! 



/ 



and if duty be any thing more than a word of imposture, 

/ 
if conscience be not a bugbear, 

\ 

we are preparing to make ourselves 

\ 
as wretched as our country. 

Fisher Ames. 



& 



l^US 



333 
PART III. 

EXPRESSION. * 

Hitherto we have considered delivery merely in reference 
to intelligibility and force. Exposition of Thought, which we 
last discussed, is a subject entirely distinct from that of Expres- 
sion. The litter does not proceed from the understanding, or 
from the imagination ; it springs from feeling. 

Suppose two persons to read or speak either of our extracts, 
and each to exhibit precisely the same delivery, so far as it can 
be influenced by the directions we have hitherto given. The 
two will set forth the same ideas, and give them the same rela- 
tive importance. They will be equally earnest and forcible. 
The attention of an audience may be as completely enchained 
by the one as by the other. The hearers may even be impress- 
ed and gratified in an equal degree by both. All this may be 
done, and yet they may proceed in diametrically opposite styles 
of delivery. They may differ in Expression. 

As Expression proceeds from feeling, it is obvious that per- 
sons of widely different temperaments and characters, must be 
predisposed to different styles of speaking. What we call a 
person's natural and characteristic manner, has its origin in 
such constitutional and habitual influences. 

So too, the subject of an address, the nature of the occasion, 
and the peculiar character and circumstances of the audience, 
all exert their appropriate influences, and excite feelings in the 
speaker, which modify his style of expression. 

Whoever be the speaker, an entire address, or at least a di- 
vision or a paragraph, is characterized by some prevalent ex- 
pression. We trust this will be shown by our subsequent clas- 

29 






334 



EXPRESSION 



sification, to be not only a fact, but one which has as definite a 
foundation in nature, as articulation, pause, inflexion or em- 
phasis. 

Our views on this subject are not theoretical, or the result of 
investigation on abstract grounds, but arise from observation of 
the varieties of manner exhibited by persons differing in age, 
character and profession, and aiming at different objects in 
speaking. 

Nor is the subject difficult, either to teach or to learn. On 
the contrary, any particular style of expression is more easily 
imitated than the sum total of the numerous and subtle modula- 
tions which combine to effect a complete exposition of thought. 
Every natural style is produced by the continual recurrence of 
some simple and definite modification of tone. Mixed expres- 
sions do not so often appear in any one address, as might be 
expected previous to investigation ; and when they do occur, 
are easily analyzed, their elements being few and definite. 

Expression is always the result of two sets of influences, 
which are in nature perfectly distinct, although existing in con- 
junction. We shall describe these in separate chapters, and 
call them — 

1. Moods of Delivery. 

2. Styles of Address. 

Every address exhibits a certain style, and also proceeds in 
one of the moods of delivery, or in a medium between them. 



CHAPTER I. 

MOODS of delivery. 

These are but two in number; a single exception which we 
shall hereafter mention, being but partial. They are — 

1. The Direct; 

2. The Meditative Mood. 



MOODS OF DELIVERY 



335 



The second might be called the indirect ; but the term we 
adopt, though less appropriate in reference to mere classifica- 
tion, is more descriptive of the actual state of mind which it 
expresses. When we speak of but two moods, we have refer- 
ence to extreme degrees of each. An address often exhibits a 
medium or mixture of each of the two. 

THE DIRECT MOOD OF DELIVERY. 

Suppose a speaker makes an extemporaneous address, on a 
subject with which he is so familiar as to have all his ideas, and 
their language, perfectly at his command. Suppose his whole 
matter and style are so prompt and fluent, that his thoughts are 
ready for use in his mind, and he has merely to employ them 
as instruments. Then suppose him to be exclusively occupied 
in endeavoring to influence his audience. If such be his situa- 
tion and efforts, his delivery will be in what we call the direct 
mood. 

In this mood, the speaker's energies are wholly di- 
rected towards his audience. 

Every tone, look and gesture, shows that he is primarily, and 
indeed exclusively influenced, so far as his delivery is concern- 
ed, by this state of mind. Whether he asserts, explains, insists, 
persuades, urges, commands, exhorts, or appeals, it is prima- 
rily to them. None of these things are done in reference to 
strengthening his own convictions, or satisfying his own feel- 
ings in view of his subject. He endeavors exclusively to influ- 
ence others ; and does not aim to satisfy himself and others. 
The truth and interest of a course of thought, are not dwelt upon 
abstractly, or for the gratification of his own mind, but are ta- 
ken for granted, and enforced upon his audience. He is not 
assisting himself to think and feel, but occupied in making oth- 
ers sympathize with thoughts and feelings completely matured 
in his mind. 



336 EXPRESSION. 

The pleadings of lawyers before juries, are generally in this 
mood of delivery, and with little or no admixture of the medi- 
tative. Still further illustration will be afforded under the next 
head, by the comparison of the two moods with each other. 

To succeed in speaking in this mood, it will be sufficient for 
the student to put his mind into the state above described, and 
make vigorous efforts accordingly. Yet it will be interesting 
and useful to describe, in detail, the modifications of general 
manner which result from so doing. 

1st. The attitude is that of leaning forward towards 
those addressed. 

If they are very near, as in the case of a jury addressed by a 
lawyer, the body will lean forward from the hips. But if the 
audience is large, the body will not bend from the hips, but 
lean forward from the foot on which it rests, — generally from 
the right one. 

It should be remembered that in graceful attitudes, the bend- 
ing forward which expresses sympathy and a desire to bespeak 
attention, will not be principally at the neck. The head will 
incline with the body, and not by itself. Bending the head 
without the body, is apt to suggest a notion that the speaker 
feels too proud to be unreservedly polite, or sympathizing. 

2d. In gesture, the arm will be freely extended, and 
not be half drawn back. 

If this be not done, the speaker will be liable to appear either 
bashful, or too sell-important to be in earnest. 

There is an exception in the case of those familiar ges- 
tures of explication or argument, in which the elbows remain 
nearly at the sides of the body, and the gesticulations are made 
with the fore-arm and wrist. These are the gestures commonly 
used in conversation, and deserve to be cultivated in familiar 
delivery. Vide p. 45. 






MOODS OF DELIVERY. - 337 

The wrist will be well bent back, and the thumb and 
forefinger widely opened, in order that the palm of the 
hand may make a frank and striking appeal. 

3d. The voice will be open, distinct, clear, and ear- 
nestly sympathizing, in its tone. 

The peculiar tone of voice which characterizes this mood of 
delivery, is that which the musicians call reedy. The clarionet, 
among musical instruments, exemplifies the quality in the most 
perfect manner. The voice does not exhibit the pure tone, in 
absolute perfection. It is more or less palatal, that is, assisted 
by reverberation from the palate or roof of the mouth, and not 
wholly laryngeal, or from the throat. Those who have not 
studied music, may recognize this quality of the speaking voice, 
from its resemblance to the tone of grave, yet sympathizing 
conversation. 

When the direct mood of delivery is entered into with 
great earnestness, it naturally tends to make the articu- 
lation very distinct. 

The voice inclines to execute each syllable with an elaborate 
finish. Even in rapid speaking, the utterance of the words and 
syllables in detail, has a certain deliberation. 

Finally, the countenance has an open and earnest ex- 
pression ; the eyes looking directly and steadily (for 
most of the time) towards those addressed. 

THE MEDITATIVE MOOD. 

In this, the speaker dwells upon ideas for their own 
sake, and for the satisfaction, at least in part, of his own 
mind. 

If his audience coincide with him, they do so from pure sym- 
pathy, and not because he makes an especial effort to influence 

29* 






338 



EXPRESSION. 



them. The delivery is substantially the same as if the speaker 
were giving free utterance to his thoughts and feelings, with- 
out addressing an audience. 

The purest exhibition of this mood, is heard in impassioned 
meditation and soliloquy. Although a soliloquy may powerfully 
affect an audience, yet it must not be addressed to them. 

As in a soliloquy, so in lower degrees of the meditative mood, 
the speaker reflects upon ideas and feelings, while he is uttering 
them. He enforces them for his own satisfaction, as well as 
for that of his hearers, upon whom he acts, as it were, indirectly. 

The meditative mood is used to express conviction, the speak- 
er's personal interest, and the interest common to him and his 
audience. The direct, is that of pure affirmation, inculcation, 
persuasion and appeal. 

The direct is objective in its efforts, and the meditative more 
or less subjective. 

The speaker being more or less in a state of medita- 
tion and reflection, this state influences his whole ap- 
pearance. 

1st. His attitude is more erect and self-balanced, 
than when speaking in the direct mood. The head 
slightly inclines to be thrown backward, while the eyes 
look more or less upwards. 

2d. The arm, in gesture, tends more upwards, and 
the palm of the hand is less strikingly presented to the 
audience. 

3d. The voice, though it may exhibit any degree of 
earnestness and passion, has a more thoughtful and solilo- 
quizing tone — sounding more as if the speaker had no 
audience before him. 

The Pure Tone, (vide p. 58,) in its highest perfection, is 
heard only in this mood of delivery. Indeed, the most perfectly 
musical sound of the speaking voice, is called for only in the 



MOODS OP DELIVERY. 3M 

recitation of interesting or elevated poetry, or of prose, that like 
poetry, addresses the imagination and feelings more than the 
understanding. When one is reading or reciting, rather than 
speaking, it is often required that the quality of voice be as ab- 
solutely musical as in the most perfect execution by the masters 
of singing. 

When the meditative mood of delivery is carried to the de- 
gree of soliloquy, the voice is so completely in the throat as to 
exhibit more or less of a hollow sound. But in practice, this 
tendency to hollowness of tone must be in a good degree con- 
tracted, or it will be apt to degenerate into obscurity, or into 
mouthing and affectation. 

The natural tendencies of the utterance are to be less distinct 
in articulation, in this mood of delivery. The voice being less 
open, broad and clear, and the utterance being more in the 
throat, the consonants are enunciated with less strength and 
precision. They are likewise not so much dwelt upon as in 
the direct mood. 

Hence the speaker needs to take more pains to articulate 
with completeness and precision. 

Indeed so little is it natural to be distinct and articulate in 
the meditative mood, that if delivery which proceeds in a high 
degree of it is made perfectly successful, the flow of utterance of 
thought and feeling, is constantly accompanied by a separate 
effort to be distinct and intelligible. 

Hence we see the reason of the common fact that thoughtful 
and intellectual men are apt to have an indistinct articulation 
in public reading or speaking. 

The reading or recitation of poetry, or of soliloquies, requires 
that this separate effort for articulation be made with very great 
care and patience. 

The most interesting exemplifications of eloquence in the 
meditative mood, are afforded by poets reading or reciting their 
own productions with enthusiasm, and by eloquent clergymen. 



340 EXPRESSION. 

Speakers who manifest cultivated minds and elevated char- 
acters, always speak more or less in this mood. Even when 
their utmost energies are exerted to convince or persuade their 
auditors, they still manifest, for the greater part of the time, a 
thoughtfulness of manner, which proves that they endeavor to 
satisfy their own minds, as well as those of others. 

Instructive and interesting lectures, should always be deliv- 
ered chiefly in this mood. 

Whenever the ideas expressed concern the whole hu- 
man family, or the speaker's fellow countrymen, the 
meditative mood should be more or less conspicuous in 
the delivery. 

This mood contributes most to dignity, elevation and sincerity 
of delivery. Yet it is frequently observed that men of superior 
talents, high cultivation, and great earnestness of character, are 
dull and uninteresting speakers. They are so even when 
speaking extemporaneously, and when their matter and style 
are such as may be expected from their talents and characters. 
Such speak purely in the meditative mood, but without excite- 
ment, and with an abstracted manner. They do not sympa- 
thize with their audience, or endeavor to influence them. 

There is, then, an abstracted mood of delivery, which 
is meditative and inexpressive, and which ought always 
to be avoided. 

These considerations suggest an explanation of the fact so 
commonly observed, that eloquent writers are not always elo- 
quent speakers. It is also true, on the other hand, that many 
eloquent extemporaneous speakers cannot write with eloquence. 
The minds of the former class work best in solitude, and are 
rendered confused and feeble, by the presence of their fellow 
men. The latter class have their minds* aroused by the pres- 
ence of an audience. The former are hindered, and the latter 
excited, assisted and encouraged, when occupying the situation 
of a speaker. 



STYLES OF ADDRESS. 341 

The peculiarly impressive tone which we so often hear in 
public prayer, is an exemplification of the meditative mood in 
delivery. When most appropriate, it differs little, if at all, from 
the tone of a loud and earnest soliloquy. In most cases also, 
the awe which the person officiating experiences, makes his voice 
highly pathetic, that is, causes it to proceed in the intonation of 
the semitone, which will hereafter be described. 

As the most elevated and interesting delivery generally ex- 
hibits a mixture of both the two moods which have just been 
described, it is a useful expedient for a student of elocution to 
practise repeating the same passage in each of them separately, 
and afterwards to make use of such a medium between the two 
extremes, as is most appropriate for the composition, and for 
the time, place and occasion, in which he is preparing to speak. 
On some occasions likewise, one or the other mood is required, 
without any admixture of its opposite. 

No separate examples are therefore required for practising 
the moods. Any extract may be employed for either or both. 
No compositions except soliloquies, are confined to one mood, 
in every possible circumstance, A u • • 



CHAPTER II. 

STYLES OP ADDRESS. 

These are independent of the Moods, and are of two classes, 
according as they represent thought or sentiment ; according as 
they attempt to compel conviction, or simply make an appeal 

The styles which set forth thought, address chiefly 
the understandings of the audience. 

Those of sentiment, appeal primarily to imagination 
and feeling. 

The two classes are opposed to each other. 



342 EXPRESSION. 

Their general characteristics may be explained by referring 
to exemplifications of each, with which all are familiar. 

Suppose a debater earnestly contending for victory on an ex- 
clusively logical question ; or a lawyer engaged in a purely le- 
gal argument before a judge. In either case, there is no room 
for imagination or sentiment; the understanding alone is ad- 
dressed. The feelings which give warmth and animation to 
the delivery, are those only which accompany pure argument, 
and strife for victory in debate. Such oratory is in one of the 
styles characterized by the expression of thought, and an effort 
to compel assent. 

On the other hand, how different are the examples of genu- 
ine poets, or of interesting clergymen, who express ideas of 
imagination and sentiment, as well as of logical reasoning. 
These do not force us, they interest us. Instead of being driv- 
en, as it were, by the energy of their understandings and wills, 
we voluntarily sympathize, and take pleasure in coinciding 
with them. Although sentimental delivery exhibits thought, 
yet it appeals primarily to the imagination. Nor does the 
speaker aim to force others to feel with him ; he himself feels 
with them. His will and energy of character are not brought 
to bear upon them, to produce a change in their feelings and 
convictions. The utmost compulsion attempted, is that of an 
earnest and sympathizing appeal. 

Argument with a direct effort to carry a point, may indeed 
be assisted by imagination and sentiment; but in this case the 
latter are not simply spontaneous ; they are made use of as addi- 
tional instruments of compulsion. The speaker gives utterance 
to them, not from mere impulse, but because he intends to in- 
fluence others by them. 

Although particular styles of composition most natu- 
rally suggest corresponding styles of address, yet any 
composition admits of being read or spoken in any style. 



STYLES OF ADDRESS. 343 

Even pure logical argument may be exhibited with a senti~ 
mental manner of presentation. The speaker may avoid affirm- 
ing positively, but content himself with stating or offering his 
arguments, and then leaving his hearers to coincide with him or 
not. This is the most agreeable, and one of the most common 
modes of presenting argument, in conversation. 

The most appropriate names of the two classes of styles, will 
be different, according to the aspects under which they are 
viewed. If regard be had to the nature of the compositions 
which respectively demand them, they will be called those of 
thought and reasoning, on the one hand, and those of imagina- 
tion and sentiment, on the other. The other aspect regards 
the sort of exertion made by the speaker, and according as he 
endeavors to compel his hearers, or contents himself with ap- 
pealing to them, they might be termed the compulsory, and the 
appealing styles; or they might receive the names of active, 
and passive. 

We think it best, however, to name the two classes accord- 
ing to the demands, in ordinary circumstances, of the composi- 
tion to be delivered. When the understanding is primarily ad- 
dressed, the thoughts are affirmed, and if they are enforced, it 
is done by forcible affirmation. This produces what is called 
forcible declamation ; and we should adopt the term declama- 
tion, were it not that it is often used as one of disparagement in 
criticisms on oratory. The term didactic might be employed, 
except that the word has, in strict propriety, a more limited 
meaning. 

We shall therefore call the two classes : the Affirmative, 
and the Sentimental styles of address. 

The distinctions which we are now considering, are liable to 
be confounded with those of the Moods of delivery. Yet they 
are entirely different. Although argumentative or forensic 
speaking generally proceeds in the Direct Mood, yet it may 
with propriety be more or less Meditative. The speaker may 






344 EXPRESSION. 

affirm either to himself, or to others, or to both. So too, the 
delivery which springs from imagination and sentiment, may 
either proceed in the direct mood, and appeal to others, to be- 
speak their attention and sympathy, or it may be in the medi- 
tative mood, and exhibit no especial directing of look, voice and 
gesture, towards the audience. 

The whole number of the unmixed styles of address, in prac- 
tical speaking, is twelve. One half of them, however, are mod- 
ifications of the others, and thus we have six primary divisions. 
Each class has three styles, as exhibited in the following table. 

I. Affirmative Styles. 

1. Affirmation. 

a. Explanatory Affirmation. 

2. Impassioned Affirmation. 

a. Impassioned Explanatory Affirmation. 

3. Contentious Affirmation. 

a. Contentious Explanatory Affirmation. 

II. Sentimental Styles. 

1. Simple Sentiment, 
a. Simple Pathetic Sentiment. 

2. Impassioned Sentiment. 

a. Impassioned Pathetic Sentiment. 

3. Hortatory Sentiment. 

a. Hortatory Pathetic Sentiment. 

In each class, the second style is more powerful than the 
first, and the third than the second. The three styles in each 
may therefore be considered as different degrees, as well as 
different kinds of force. The description of them under their 
several heads, will show that nature has appropriated a definite 
and precise tone of voice for each. 

It may be asked, are there no mixed styles? We believe 
there are but k\v. Each style may be in one of the two moods, 
or in a medium between them. They may also be exhibited 









STYLES OF ADDRESS. 



345 



with a difference in respect of qualities which do not influence 
the style; the principal of which lie familiarity, and its oppo- 
site, gravity; force, and its opposite, moderation; liveliness, 
which is made up of familiarity and force ; dignity, which re- 
quires gravity and some degree of the meditative mood ; suavity 
which is effected by a smooth quality of voice, and sometimes 
by a prolonged vanish ; and sympathy, which depends to a con- 
siderable extent on look and gesture, but likewise employs a 
clear and reedy tone of voice. 

The first style in each class, viz. that of Simple Af- 
firmation, and that of Simple Sentiment, is not necessa- 
rily destitute of force. 

On the contrary, some of the most powerful passages of dec- 
lamation, as, for instance, that from Plunket, on p. 267, exhibit 
a vehement, but yet unimpassioned force of delivery ; and on 
a similar principle, many of the most powerful passages of sen- 
timent, are likewise unimpassioned. An impassioned style, 
however, is more strongly influential on an audience, than the 
highest degree of force with an unimpassioned manner. 

The impassioned styles are distinguished by some personal 
emotion of the speaker, which colors his whole intonation. 
The emotion is often some definite feeling, such as surprise, 
wonder, triumph, exultation, sorrow, pity, regret, and various 
others, which all have names, and each of which is generally 
furnished by nature, with a certain mode of exhibition. Yet 
no style of delivery, according to the above classification, de- 
pends on the peculiar nature of the emotion or passion exhibited. 
They are determined rather by the presence or absence of any 
emotion at all, affecting the current tone of voice, and em- 
ployed, not for its own sake, but as an expression of earnest- 
ness. The modifications of tone which distinguish the styles, 
are entirely independent of those which constitute the natural 
language of the different passions. The study of the latter is 

30 



346 EXPRESSION. 

not necessary for oratory, being required only in the art of act- 
ing ; in artistic recitation ; and in such speaking as is intended 
to exhibit a display of art, or in other words, is intentionally 
executed as a sort of acting. 

In fact, it is not necessary that Impassioned Affirmation or 
Sentiment, in delivery, exhibit any one of the various passions. 
The word impassioned does not, in common usage, necessarily 
convey such a meaning. We familiarly speak of impassioned 
earnestness, and it is in this sense that we employ the word in 
our classification. We may affirm a truth with great force of 
delivery, or we may do so with an impassioned earnestness of 
affirmation. The distinction between the two we shall explain 
more fully, when we treat of each style specifically. 

Previous, however, to describing and illustrating each, it will 
be satisfactory to the student, to present a brief explanation of 
the discoveries made by Dr. Rush, in regard to the vocal func- 
tions by which they are executed. But although this gentle- 
man has described them with his accustomed accuracy, he has 
not systematically appropriated them to their natural uses. 

Every syllable in discourse has a slide. A slide is either 
simply upwards or downwards; or it proceeds first in one direc- 
tion and then in its opposite, constituting a wave. 

Explanatory expression is (in our opinion,) given by a wav- 
ing slide. An expression which is not explanatory, has a slide 
simply upwards or downwards. 

But the slide may be without any stress, or force of utterance, 
on one portion more than on another ; or it may have stress on 
different parts. The stress may be on the beginning, i. e. at the 
first issuing of the syllable ; or in the middle ; or at the end. 
It may also be first at the beginning, and then at the end ; and, 
finally, it may be a stress carried with great energy throughout 
the whole extent of the slide. Each of these six variations in 
respect of stress is the characteristic of a distinct style. 



UNIMTASSIONED AFFIRMATION. 347 

These distinctions have long been recognized in music, and 
have each received an appropriate name, with reference to style 
of musical expression. Indeed, so far as we can discover, after 
improving every opportunity, for many years, of listening to 
well executed music, expression in this art is produced by the 
same means as in either reading, speaking or conversation. 

It must be borne in mind that expression, whether in music 
or in elocution, is something which characterizes every note or 
syllable. Each style of delivery has therefore a peculiar mode 
of uttering all the syllables, which is independent of emphasis, 
inflexion, or any other element of utterance. Yet it will, of 
course, be most conspicuous on accented and on emphatic syl- 
lables, as well as on those which have long quantity, or which 
are delivered with slowness, or with energy. The same is 
equally true of notes in music. 

We now proceed to describe and exemplify the several styles. 
Under each head we shall also refer to such of the preceding 
extracts as belong to it, and thus classify all in the volume, in 
respect to styles of delivery. 

UNIMFASSIONED AFFIRMATION. 

This may be exhibited either with calmness, with ani- 
mation, or with a vehement and even violent force. 

It is used for stating pure fact or thought, provided the 
statement is made by assertion, and without an appeal. 

Its tone is that produced by the unvarying recurrence of 
stress upon the beginning of each syllable. This " radical 
stress" is instantly followed by the commencement of the van- 
ishing movement on the syllable : vide p. 61. 

It has been already described in part first, p. 67. But we 
then had in view a high degree of this mode of enforcement, 
with reference merely to preparatory exercises of the voice ; 
such being the easiest and most common form of Animation. 



348 EXPRESSION. 

In the compositions to which this style of delivery is most ap- 
propriate, there is commonly a frequent occurrence of emphatic 
falling inflexions, which are accompanied by the downward 
stroke in gesture. It often happens likewise, that circumflex 
inflexions occur on such emphatic words as demand a pointed 
designation, but yet require to end with a rising inflexion, on 
account of suspension of sense. 

Among our previous extracts, may be classed under this style, 
those commencing on p. 267 (which should be vehement) — on 
p. 232 (which is calm) — on p. 296 — the intensive passages, 
pp. 297 and 298 — and the remonstrative, p. 303. 

The following extract may be spoken without impropriety in 
the next style, viz. that of Explanatory Affirmation. But if 
carefully examined, it will be perceived to belong to that now 
under consideration. It may be spoken, either calmly, or with 
a high degree of force. 

ON THE FEDERAL CONSTITUTION. 

/ 

When we have formed a constitution upon free principles, 

/ 
when we have given a proper balance 

to the different branches of administration, 

/ 
and fixed representation 

/ 
upon pure and equal principles, # 

we may, with safety, 

\ 

furnish it with all the poicers 

necessary to answer, in the most ample manner, 
the purposes of government. 
The great desiderata, 



UNIMPASSIONED AFFIRMATION. 349 

\ 

are a free representation, and mutual checks. 

When these are obtained, 

all our apprehensions - of the extent of powers, 

are unjust and imaginary. 

\ 
What, then, is the structure 

\ 
of this constitution? 

One branch of the legislature 

\ 

is to be elected by the people — 

\ 

by the same people who choose your state representatives. 

/ 
Its members are to hold their office two years, 

\ 

and then to return to their constituents. 

Here, Sir, 

\ 
the people govern : 

\ 
here they act, 

\ 
by their immediate representatives. 

\ 
You have also a senate, 

V 

constituted by your state legislatures — 

\ 
by men, in whom you place the highest confidence, 

\ 

and forming another representative branch. 

Then, again, you have an executive magistrate, 

created by a form of election, 

30* 



350 EXPRESSION. 

\ 

which merits universal approbation. 
In the form - of this government, 

and in the mode of legislation, 

\ 
you find all the checks, 

which the greatest politicians, and the best writers, 

have ever conceived. 

The entire organization is so complex, 

so skilfully contrived, 

V 

that it is next to impossible, 

that an impolitic, or wicked measure, 

should pass the great scrutiny, with success. 

\ 

Now, what do gentlemen mean, 

\ 
by coming forward, and declaiming - against this government? 

WJiy do they say, 

\ 

we ought to limit its powers, 

\ 

to disable it, 

\ 
and to destroy its capacity - of blessing the people? 

/ 
Has philosophy suggested, 

/ 
has experience taught, 

that such a government 

ought not to be trusted, 



EXPLANATORY AFFIRMATION. 351 

/ 

with every thing necessary - for the good of society ? 

\/ 
Sir, when you have divided and nicely balanced the de- 
partments of government, 
when you have strongly connected the virtue of your rulers 

\/ 
[with their interests, 

when, in short, you have made your system as perfect 

\/ 
\ [as human forms can be, 

you must place confidence, 

\ 
you must give power. 

Alexander Hamilton. 

1. a. Explanatory Affirmation. 4 

This combines an explanatory tone with enforce- 
ment of Affirmation by radical stress. A careful effort 
to explain all our ideas, causes each syllable to have a 
waving slide. 

Though many syllables are so short as to afford no opportu- 
nity for a perceptible wave, yet even such exhibit a vocal effort 
towards one. On the longer syllables, the wave is conspicuous, 
and especially on the accented vowels of emphatic words. 

The gestures, in this style of address, incline more than in 
the preceding, to waving and side way motions, and are espe- 
cially characterized by gesticulations made from the wrist, in- 
stead of from the elbow, or shoulder. 

As the voice endeavors to proceed, as much as possible with 
waving slides, the syllables are more prolonged than in the pre- 
ceding styles, and the articulation of the terminal letters of 
words is particularly distinct. 

Note. — In part first of this work, the section (p. 129) on the Tone of 
Communicating Thought, has partially anticipated our present subject. 
But in that section we had reference, not to particular styles of address, 



352 EXPRESSION. 

but to that general care by which every part of delivery is so managed as 
to appear like an actual exposition of ideas, and not like an abstract and 
absent minded enunciation of words instead of thoughts and feelings. 

The extracts on pp. 268, 274, and 278, demand this style of 
delivery, and a high degree of force and power. 

The following extract is explanatory, as well as didactic ; but 
familiar and lively, rather than forcible. 

hamlet's advice to the players. 

Speak the speech, I pray you, 

\ 

as I 'pronounced it to you ; 

\ 

trippingly on the tongue. 

/ 

But if you mouth it, as many of our players do, 

\ 
I had as lief the town crier had spoken my lines. 

\ 
And do not - saw the air - too much, 

\ /\ 

with your hands, thus ; 

\ 
but use all gently. 

\ 

For in the very torrent, 

\ 
tempest, 

and, as I may say, lohirhoind - of your passion, 

\ 

you must acquire and beget a temperance, 

\ 
that may give it smoothness. 

\ 
Oh ! it offends me to the soul, 

to hear a robustious, periwig-pated fellow, 

\ 

tear a passion to tatters, 



EXPLANATORY AFFIRMATION. 353 

\ 

to very rags, 

\ 
to split the ears of the groundlings, 

who, for the most part, 

\ 
are capable 

/ 
of nothing - but incjplicable dumb shows , and noise. 

\ 
Pray you, avoid it. 

\ 
Be not too tame, - neither ; 

\ 

but let your own discretion 

\ 
be your tutor. 

/ 
Suit the action to the icord, 

\ 

the word to the action ; 

with this special observance, 

that you o'ersicp not the modesty of nature ; 

for any thing 50 overdone 

\ 
is from the purpose 

/ 
of playing ; 

whose end is, 

\ 
to hold, as 'twere, the mirror, up to nature; 

to show virtue her own feature, 

scorn, her own image, \ 

[pressure. 
and the very age - and body - of the time, his form and 



354 EXPRESSION. 

/ 

Now, this overdone, 

\ 

or come tardy off, 

/ 
though it make the unskilful laugh, 

\/ \ 

cannot but make the judicious grieve; 

\ 
the censure of one of which 

must, in your allowance, 

\ 
overweigh a whole theatre 

/ 
of others. 

Oh ! there be players, that I have seen play, 

\ 
and heard others praise, 

\ 

and that highly, 

/ 

that, having neither the accent of Christian, 

\ 
nor the gait 

\ 
of Christian, pagan, nor man, 

have so - strutted, and bellowed, 

\ [men, 

that I have thought some of nature's journeymen had made 

\ 
and not made them well; 

they imitated humanity 

so abominably ! 

Shakespeare. 



impassioned affirmation. 355 

2. Impassioned Affirmation. 

In the preceding styles, a speaker may be highly vehement, 
and yet exhibit a degree of coolness; the force with which he 
speaks proceeding from clearness of understanding, and energy 
of affirmation. 

The present style implies personal feeling and impas- 
sioned earnestness ; and is accordingly more powerful in 
its effect, when employed with energy. 

Passages which demand this style, in addition to impassioned 
earnestness, generally exhibit frequent colorings from various 
emotions which accompany excited argument; such as wonder 
at absurdity ; surprise at mistakes ; contempt for false reasoning ; 
triumph in view of truth ; indignation at error ; joy, satisfaction, 
complacency, confidence, and others. 

The tone of Impassioned Affirmation, is the median 
stress ; i. e. a stress in the middle of each syllable. 

In music, this is called the swell, and produces the same ef- 
fect as in elocution, when given on notes no longer than the 
syllables of speech. 

The swell is generally sudden. In the radical stress of the 
preceding styles, the first issuing sound of the vowel is the loud- 
est part of the slide. The median stress begins with a slight 
sound of the vowel, which instantly swells to a forcible one, and 
immediately afterwards ends with a quick vanish at the end of 
the syllable. 

The gestures in this style, are slower and less sudden. The 
sweeping motions of the arm are wider, and with a slow strength. 
The breast is heaved up, and swells with earnestness, and the 
muscles of the arm are nerved to the highest state of tension. 

Among our extracts in previous chapters, those demanding 
this style, are on pp. 53, 110, 117, 120, 220, 261, 271, 281. 



356 



EXPRESSION 



The following is from a speech by Brougham, on the occa- 
sion of a solemn affirmation made by the Duke of York, that in 
the not improbable event of his succeeding to the crown, he 
should never approve a bill for Catholic emancipation. It re- 
quires the most vehement enforcement. 

Will any man tell me, 

/ 
that he has now confident hopes of the Catholic Question ? 

/ 
Does any man really believe now 

that the Catholic Bill will pass? 

Does any man believe 

that the ominous news of this day, 

which has gone forth to England and Ireland, 

\ 
will not ring the knell of despair in the ears of the Catholics ? 

/ 
Instead of a majority - of twenty seven members of this house, 

/ 

to save the empire from convulsion, 

I believe nothing can save Ireland, 

nothing can preserve the tranquillity of Ireland, 

\ / 

and save England from new troubles, 

\ 
but an overwhelming majority. 

\ 
Now, too is the time, 

\ 
or not for years. 

\ 

This is the hour of its good fortune. 

\ 
This reign — 






IMPASSIONED AFFIRMATION. 357 

\ 

the present reign, 

is the critical moment - of its probable success. 

\ 
The time may pass quickly by you ; 

\ 

the glorious opportunity may soon be lost. 

/ / 

After a little sleeping, and a little debating, 

/ 
and a little sitting upon these benches, 

/ 
and a little folding of your arms, 

/ 
and a short passing space of languid procrastination, 

\ 
the present auspicious occasion will have disappeared, 

\ 
and the dominion of bigotry and despotism 

\ 
will come, in all its might, upon our slumberings, 

\ 
like an arm- ed man, - in the night, 

/ 
and destroy the peace of Ireland, 

/ 
endanger the safety of England, 

\ 
and threaten the liberties of the general empire. 

It becomes us, then, 

to set our house in order, by times, 

and to recollect, / 

[majority of nineteen, 
that if we carried up the Bill, on a former occasion, by a 

/ 

and it failed in the house of Peers, 

31 



358 EXPRESSION. 

\ 

there is ten thousand fold the necessity / 

[conclusion, 
for taking this last opportunity - of bringing the question to a 

\/ 
because an event may happen, 

\ . 

when you will have no longer the option; 

when even if the Bill should be carried — 

/ 
not by a majority of nineteen, or twenty seven, 

\ 
but by a unanimous vote - of both houses of Parliament, 

\ 

and the voice of the whole country, 

\ 
even if the country streamed with blood, 

the measure could not be effected, 

\ 
except by an inseparable breach - with the Crown. 

Brougham. 

In the following magnificent defense of his conduct by De- 
mosthenes, we mark many of the questions with falling slides, 
to indicate the triumphant tone with which they should be put. 
A powerful effect is also produced by intensive emphases. 

\ 
Athenians! consider; 

\ 
what was the part of a faithful citizen ? 

\ 
Of a prudent, an active, and an honest minister ? 

/ 
Was he not to secure JEuboea, 

/ 
as our defence against all attacks - by sea ? 

/ / 

Was he not to make Boeotia our barrier on the midland side 1 — 






IMPASSIONED AFFIRMATION. 359 

/ / [ter? 

the cities bordering on Peloponnesus our bulwark on that quar- 

\ 

1, [tion of corn, 

JVas lie not to attend, with due precaution, - to the importa- 

that this trade might be protected, through all its progress, 

\ 
vp to our very harbor ? \ 

[seasonable detachments — 
Was he not to cover those districts which we commanded, by 

\ \ \ 

as the Proconcsus, the Chcrsonesus, and Tenedos ? 

\ 

To exert himself - in the assembly, for this purpose, 

while, with equal zeal, 

he labored to gain others to our interest and alliance, 

\ \ \ ' 

as Byzantium, Abydos, and Eubcea 1 ) 

\ 

JVas he not to cut off 

/ 
the best - and most important resources of our enemies, 

\/ \ 

and to supply those in which our country - was defective 1 

\ 

And all this you gained 

\ 

by my counsels, and my administration. 

Such counsels, 

and such an administration, 

as must appear, upon s.fair - and equitable view, 

!. \ 

the result - of strict integrity ; 

\ 
such as left no favorable juncture unimproved, 



360 EXPRESSION. 

\ 

through ignorance, or treachery ; 

\ 

SUCh as EVER HAD THEIR DUE EFFECTS, 

as far as the judgment and abilities of one man 

\ 
could prove effectual. 

\y 

But if some Superior Being, 

\/ 

if the misconduct - of your generals, 

\/ 
if the iniquity - of your traitors, 

\/ 
or if all these togttlmr broke in upon us, 

/ 
and, at length, involved us in one general devastation, 

\ 
how is Demosthenes to be blamed 1 

\ 

Had there been a single man, 

in each Grecian state, 

/ 
to act the same part which I supported in this city ; 

\ 
nay, 

/ 
had but one such man been found in Thessaly, 

\ 

and one in Arcadia, 

/ 
actuated - by my principles, 

\ 

not a single Greek, 

\ 
either beyond, or on this side Thermopylae, 

could have experienced the misfortunes - of this day. 

\ 
All had then been free and independent, 



IMPASS. EXPLAN. AFFIRMATION. 361 

\ 
in PERFECT TRANQUILLITY, SECURITY, and HAPPINESS, 

/ 

uncontrolled, in their several dominions, by any foreign power, 

and Jillcd with gratitude to you and to your state, 

\ 

the authors of these blessings so extensive and so precious. 

\ 
And all this by ?ny means. 

Demosthenes. 

2. a. Impassioned Explanatory Affirmation. 

This diners from the preceding, in the employment of waves, 
and in the earnest long quantity which they require. 

The following extract from an argument before a jury, will 
readily suggest the peculiarly powerful declamation which con- 
stitutes this style. 

In the case - of a civil action, Gentlemen of the Jury, 

\ / 

throughout the whole range of civil injuries, 

the master is always, civiliter, 

\ 
answerable for the act of his servant or agent; 

and accident or neglect 

can therefore be no answer 

\ 

to a plaintiff - complaining of a consequential wrong. 

/ 
If a driver of a public carriage 

/ 
maliciously overturns another, upon the road, / 

[distance, 
whilst the proprietor is asleep in his bed, at a hundred miles 

the party injuring 

31* 



362 EXPRESSION. 

\ 

must, unquestionably, pay the damages, to a farthing; 

/ 
but though such malicious servant might also be indicted, 

\/ 
and suffer an infamous judgment, 

/ [tion ? 

could the master, also, become the object of such a prosecu- 

\ 

Certainly not! 

\ 
In the same manner, partners in trade 

are, civilly, answerable for bills drawn by one another, 

or by their agents drawing them by procuration, 

\ 
though - fraudulently, 

\ 
and in abuse of their trusts ; 

/ 
but if one partner commits a fraud, 

/ 
by forgery, or fictitious endorsements, 

/ [indictment, 

so as to subject himself to death, - or other punishment by 

/ 

could the other partners be indicted ? 

\ 
To answer such a question, here, would be folly ; 

/ / 

because it not only answers itself, in the negative, 

\ 

but exposes to scorn \ 

[civil actions, 
every argument which would confound indictments with 

\ 
Why, then, is printing and publishing 

\ 
to be an exception - to every other human act? 

Why is a man to be answerable criminaliter, 



I MP ASS. EX PLAN. AFFIRMATION. 363 

/ 

for the ci ime of his servant, in this instance, 

\ 
more than in all other cases? 

/ 

As far, indeed, as damages go, 

\ 

the principle is intelligible and universal; 

\/ 

but as it establishes a crime, \/ 

\ / [disgrace, 

and inflicts a punishment which affects character and imposes 

\ 
it is shocking to humanity, and insulting to common sense. 

\ 

How is this vindicated? 

\/ \ 

From the supposed necessity of the case. 

\/ 

An indictment for a libel 

\ 
is, therefore, considered to be an anomaly - in the law. 

\/ \ 

It was held so, undoubtedly ; 

\ 

but the exposition of that error lies before me ; 

\ 
the Libel Act lies before me, 

\ 

which, expressly, and in terms, 

directs that the trial for a libel \ 

[crime ; 
shall be conducted like every other trial, for any other 

and that the jury shall decide, 

not upon the mere fact - of printing or publishing, 

\ 

but upon the whole matter put in issue, \ 

[charged by the indictment. 
that is, the publication of the libel - with the intention 



364 EXPRESSION. 

\ 

This is the rule by the Libel Act; 

\ 
and you - the Jury, as well as the Court, are bound by it. 

Erskine. 

3. Contentious Affirmation. 

This might also be called the Forensic style ; being that used 
in the most vehement debates, and by lawyers, in their most 
powerful pleadings. It expresses the extreme of earnestness in 
contending for victory, or in striving to gain a cause ; and calls 
for a corresponding degree of mental and bodily energy. 

Its tone is that of the compound stress ; i.e. a stress 
first at the beginning and then at the end of a syllable. 

The middle part of the slide is less forcible than the com- 
mencement, and instead of a vanishing termination, a sudden 
force is given at the end. Hence the terminal consonants of 
syllables and words are very strongly enunciated, and the artic- 
ulation is forcibly distinct. 

The gestures are numerous, and made with great strength 
and heartiness. 

The extracts on pp. 56, 262, and 275, are from powerful 
pleadings of great lawyers, and require this style. 

The following extract is from a speech of the most powerful 
of the French orators. Its object is to prevail on the legislature 
to adopt, without examination, an extreme measure intended 
to rescue France from national bankruptcy. 

It will be perceived that the overpowering vehemence of this 
style and the next one, causes the groups to be long ; and not 
only multiplies emphatic words, but sometimes makes more 
than one emphatic inflexion necessary in a phrase. 

Has not the Minister of Finance 

\ \ 

drawn a most alarming picture of our present situation? 

Has he not told you 



CONTENTIOUS AFFIRMATION. 365 

\ 

that delay must aggravate the evil ? 

/ / 

that a day, an hour, 

\ 

a moment, 

\ 
may render it irremediable ? 

\ 
Have we any other plan, 

\ 
to substitute for the one he proposes? 

\ 
One of this assembly answers yes ! 

I conjure that member to recollect, 

\ 

that his plan is unknown, 

\ 

that it would require time, 

\ 
to explain and examine it, 

\ 

that, were it now in discussion, 

\ 

its author may, perhaps, be mistaken ; 

\ 
or if not, that we may think he is, 

and that, without the concurrence of public opinion, 

\ 
the greatest possible talents 

would be of no avail, in the present circumstances. 

\ 

i>o, 

am far from thinking, 

/ [means ; 

that the minister has proposed the best possible ways and 

but at this critical moment, 



366 EXPRESSION. 

\ \ 

I cannot even think of placing my views in opposition to his. 

/ 

However preferable, I may deem them, 

I know that it is in vain for me 

\ 
to pretend to his prodigious popularity, 

\ 

the reward of such distinguished services, 

\ 
to his long experience, 

\ \ 

to his reputation of the first financier in Europe, 

\ 

or to the singular - and unprecedented good fortune, 

which has marked his career, 

\ 
more perhaps, than that of any former statesman. 



We must, therefore, 

\ 
come back to the plan of Mr. Neckar. 

\ 

But, "why adopt it without deliberation?" 

/ 
Do you think, then, that we have time, 

/ 
to examine it in detail, 

/ 
to discuss the principles, and go over all the calculations ? 
\ 
No, 

\ 

NO, 

\ 

a thousand times - no. 

\ 
We can only propose insignificant questions, 

t \ 
and superficial conjectures. 






CONTENTIOUS AFFIRMATION. 367 

\ 

What, then, shall we do, by deliberating? 

\ 
Lose the decisive moment ! 

involve ourselves in disputes - about the details of a scheme, 

\ 

which we really do not understand; 

diminish, by our idle meddlings, the Minister's credit, 

\ \ 

which is, and ought to be, greater than our own. 

Gentlemen, 

< . . x 

{/us course is both impolitic, and dishonest. / 

[the ztfea of bankruptcy, 
I would ask those who seem to be accustoming themselves - to 

/ 
in preference to excessive taxes, 

/ 
whether a national bankruptcy ! 

\ 
is not itself 

\ 

the most cruel! 

\ 
the most unjust ! 

\ 

the most ruinous, 

\ 
of aZ/ possible taxes ? 

Mirabeau. 

3. a. Explanatory Contentious Affirmation. 

This differs from the preceding in the employment of 
waving slides. 

Gentlemen of the Jury, 

How any man can rationally vindicate 



368 EXPRESSION. 

the publication - of such a book as Paine' s Age of Reason, 

in a country where the Christian religion 

/ 

is the VERY FOUNDATION - of the LAW OF THE LAND, 

/ 

I am totally at a loss to conceive, 

\ 
and have no wish to discuss. 

\ 
How is a tribunal, / 

[and "practice 
whose whole jurisdiction is founded upon the solemn belief 

of what is here denied as falsehood and reprobated as impiety, 

\ 
to deal - with such an anomalous defence 1 

\ 
Upon what principle is it even offered to the court, 

whose authority is contemned and mocked at? / 

[ously adopted in belief - and solemnly acted upon, 
If the religion proposed to be called in question is not previ- 

\ 
what authority has the court to pass any judgment at all, 

\ 
either of acquittal, or condemnation ? 

Under what sanction, 

\ 
are the witnesses to give their evidence, 

\ 
without which there can be no trial? 

Under what obligations 

/ 
can I call upon you, the Jury - representing your country, 

\ 

to administer justice ? 

\ 
Surely, 



STYLES OF SENTIMENT. 369 

/ 

upon no other, 

i \ 

than that you are sworn to administer it, under the oaths you 
\ [have taken. 

The whole judicial fabric, 

\ 
from the king's sovereign authority to the lowest office of mag- 
\ [istracy, 

has no other foundation. 

\ 

The whole 

is built, both inform and substance, 

\ . . . / 

upon the same oath of every one of its ministers, 

! 

to do justice, 

\ 
" as God shall help them hereof ter. ,: 

Erskine., a • 

STYLES OF SPEAKING CHARACTERIZED BY SENTIMENT. 

These have been enumerated on p. 344. It ought to be 
mentioned that all poetry is to be read in one of them. The 
same assertion may be made, with very few exceptions, of 
dramatic composition. Conversation, likewise, is generally in 
the style of simple sentiment, though sometimes becoming im- 
passioned. These styles are more interesting than those of 
thought, and sometimes require as vehement bodily and mental 
exertion. Their vehemence, however, is of a different kind ; 
it is also, as will hereafter be explained, far more exhausting to 
the speaker. 

Sentimental delivery generally uses long quantity, and con- 
sequently its rhythm (vide p. 188) is often such as in the 
chapter on that subject, we indicated by separating the letters 
of many of the words. Vide p. 148. 

83 



370 expression. 

1. Unimpassioned Sentiment. 

Which we have also called Simple Sentiment. It may be 
calm and simply interesting, or warm and glowing in various de- 
grees, without being impassioned. 

Its tone is a prolongation of the vowels without stress. 

Such a prolongation makes the voice more musical ; and it 
will be found a good direction for acquiring it, to put the mind 
in a state similar to that of a singer. Yet in so doing, we must 
be careful not to fall into what is called a tone; the natural in- 
tonation of speech must be carefully preserved. 

In sentimental delivery, the vowels occupy a larger portion 
of the slide than in the preceding styles. Take such a syllable 
as old: the I and d will be less dwelt upon, and enunciated with 
less strength. Sometimes, in the most interesting recitation of 
lyric poetry, the approximation to vocal music, in this respect, 
is very close. The vanishing movement also is executed in a 
more clear and musical quality of voice, and with less obscurity 
and huskiness of sound. 

The previous extracts in this volume which require this style, 
but with different degrees of warmth and animation, are on pp. 
62, 113, 139, 142, 151, 158, 264, 265, 297, 298, 303, 310, 312, 
314, 319. 

The two following passages from orations at Plymouth and 
at Bunker's Hill, are glowing, yet not impassioned. 

NEW ENGLAND. 

/ 
The hours of this day are rapidly flying, 

and this occasion will soon he passed. 

Neither we, nor our children, 

can expect to behold its return. 

\ 

They are in the distant regions of futurity, 






SIMPLE SENTIMENT. 371 

\ 

they exist only in the all creating power of God, 

/ 
who shail stand here, a hundred years hence, 

to trace, through us, their descent from the Pilgrims, 

and to survey, as we have now surveyed, 

the progress of their country, during the lapse of a century. 

I We would anticipate their concurrence with us, 
\ 
in our sentiments of deep regard forour common ancestor s. 

\ 

We would anticipate, and partake 
j 

the pleasure with which they will then recount 

the steps of New England's advancement. 

I 

On the morning of that a\a.y , 

although it will not disturb us, in our repose, 

the voice of acclamation and gratitude 

commencing on the Rock of Plymouth, 

/ 

shall be transmitted through millions of the sons of the Pilgrims, 

till it lose itself in the murmurs of the Pacific seas. 

[our places, 
We would leave, for the consideration of those who shall then occupy 



some pr 



oof 



that we hold the blessings - transmitted from our fathers, 

,\ 

in just estimation; 

/ 
some proof of our attachment to the cause of good government, 

\ 
and of civil and religious liberty; 

aome proof of a sincere and ardent desire, 



372 EXPRESSION. 

/ 

to promote every thing which may enlarge the understandings, 

and improve the hearts of men. 

And, when, from the long distance - of a hundred years, 

they shall look back - upon u s, 

they shall knoic, at least, 

that we possessed affections, 

which, running backward, 

/ [our happiness, 

and warming with gratitude for what our ancestors have done for 

\ 

run forward also to our posterity , 

and meet them with cordial salutatidn, 

ere yet they have arrived on the shore of being. 

\ 
Advance , then, y e future generations! 

We would hail you, 

as you rise, in your long succession, 

to fill the places which we now fill, 

and to taste the blessings of existence, 

where we are passing, and soon shall have passed, 

our own human duration. 

We bid you ic el come to this pleasant land of the Fathers. 

We bid you welcome 

[England, 
to the healthful skies, and the verdant fields of New 

We greet your accession 

to the great inheritance which ice have enjoyed. 

[liberty. 
We welcome you to the blessings of good government, and religious 

/ 

We welcome you to the treasures of science, 

/ 
and the delights of learning. 



Webster. 



SIMPLE SENTIMENT. 373 

\ 

We welcome you to the transcendent sweets of domestic life, 

to the happiness of k indr ed , and parents, and children. 

We welcome you to the immeasurable blessings 

\ 
of rational existence, 

/ 
the immortal hope - of Christianity, 

and the light - of everlasting truth. 

THE BUNKER'S HILL MONUMENT. 

Our object, in erecting this monument, 

is to show our deep sense 

\ 
of the value - and importance of the achievements of our ances- 
tors ; 
and by presenting this work of gratitude to the eye, 

to keep alive similar sentiments, 

and to foster a similar regard, 

| to the principles - of the Revolution. 

Human beings are composed not of reason only, 

\ 

but of imagination also, and sentiment; 

\ 
and that is neither wasted nor misapplied, 

[sentiments, 
which is appropriated to the purpose of giving right direction - to 

and opening proper springs of feeling in the heart. 

Let it not be supposed 

that our object is to perpetuate national hostility, 

\ 

or even to cherish a mere military spirit. 

\ \ \ 

It is higher, purer, nobler. 

We consecrate our work to the spirit of national indepen- 

\ [dene e , 

and we wish that the light of peace 

32* 



374 



EXPRESSION 



may rest upon it forever. 

We rearamemorial / 

[conferred on our land, 
of our conviction of the unmeasured benefit - which has been 

[events 
and of the happy influences which have been produced by the same 

on the general inter ests of mankind. 

We come, as Americans, 

to mark a spot 

which must be forever dear 

to us, and our posterity. 

\ 
We wish that whosoever, in all coming time, 

/ 
shall turn his eyes hither, 

may behold that the place is not undistinguished, 

where the first great battle of the Revolution was fought. 

"We wish that this structure 

may proclaim the magnitude - and importance of that event, 

to ev er y class and every age . 

/ 

We wish that infancy 

/ 
may learn the purpose of its erection from maternal lips, 

\ 
and that weary and withered age 



may 



behold it, 



and be solaced by the recollections which it suggests. 

/ 

We wish that labor may look up here, 

and be proud, in the midst of its toil. 

\ 
We wish that, in those days of dis ast er , / 

[upon us, also, 
which, as they come upon all nations, must be expected to come 

\ 

desponding patriotism 



SIMPLE SENTIMENT. 375 

may turn its eyes hither 

and be assured that [he foundations of our national poioer 

still stand strong. 

We wish that this column 

[pies dedicated to God, 
rising towards heaven amid the pointed spires of so many tern- 

\ 
may contribute also to produce, 

in all mi n d s , 

a pious feeling of dependence - and gratitude. 

We wish, finally, 

that the last object 

on the sight of him who leaves his native shore, 

and the first to gladden him who revisits it, 

may be something 

which shall remind him of the liberty and glory - of his country. 

Let it rise, 

till it meet the sun in his coming-; \ 

let the earliest light - of morning gild it, 

and parting day 

linger and play on its summit. 

Webster. 

Calm philosophical eloquence often requires this style, as in 
the following extract from the New York translation of Hum- 
boldt's Cosmos. The delivery must proceed with absolute 
calmness and repose. 

EARTHQUAKES. 

Before we quit the phenomena - of earthquakes, 

[and quite peculiar impression, 
we must advert to the cause of that indescribable, deep, 



376 EXPRESSION. 

made upon us by theirs* earthquake we experience, 
even when it is accompanied - by no subterraneous noise. 
The impression - does not, we believe, 

result from any recollection of destructive catastrophes 

/ 
presented to our imagination by narratives of historical events ; 

what seizes upon us so wonderfully, 

is the disabuse - of that innate faith 

[the earth. 
in the fixity - of the solid and sure-set foundations of 

From early childhood, 

[water, 
we are habituated to the contrast - between the mobile element - 

and the immobility - of the soil on which we stand. 

All the evidences - of our senses 

have confirmed this belief. 

But when suddenly the ground begins to rock beneath us, 

the feeling arises in the mind, 

of an unknown,- mysterious power, in nature, 

coming into action, and shaking the solid globe. 

[ted in an instant. 
The illusion of the whole of our earlier life is annihila- 

\ 
We are undeceived as to the repose of nature; 

[empire, 
we feel ourselves transported to the realm, and made subject to the 

of destructive unknown powers. 

Every sound, — 

the slightest rustle in the air, 

sets attention on the stretch. 

We no longer trust the earth - on which we stand* 

The unusual - in the phenomenon 



PATHETIC SENTIMENT. 377 

throws the same anxious unrest and alarm over the lower animals. 

\ 

Sicine and dogs are particularly affected by it ; 

and the very crocodiles of the Orinoco, 
otherwise as dumb - as our little lizards, 
leave - the shaken bed of the stream, 
and run bellowing- into the woods. 

To man , 

[ited something, 
the earthquake presents itself as an all-pervading - unlim- 

\ / 

We can remove from an active crater ; 

/ 

from the stream of lava - that is pouring down upon our dwelling, 

\ 
we can escape; 

\/ 

but with the earthquake, 

we feel, that, whithersoever we fly, 

we are still over the hearth of destruction. 

Humboldt. 

//// // 

1. a. Unimpassioned Pathetic Sentiment. 

The ordinary slide on syllables that have no marked inflex- 
ion, extends through the interval of a musical tone. 

Pathetic expression is given by the slide through a 
semitone. 

In aiming to execute this slide, we must not attempt 
to proceed by means of a musical ear, but must simply 
take on a pathetic expression of voice. 

Neither in so doing should we indulge ourselves in any ap- 
proximation to a whine ; or employ for the purpose a high pitch ; 



378 



EXPRESSION. 



or exclusively use rising inflexions. Some authors have given 
directions to this effect, which are very erroneous. Let the 
student, who is curious in such matters, consult Dr. Rush, or 
Prof. Day. 

The true pathetic not being very often required in practical 
speaking, and being also easy to exhibit, a single short extract 
will be sufficient. We mark the emphases with reference to 
the course of thought and the appeals to the imagination, and 
not to indicate a higher degree of pathos. The expression must 
be diffused over the whole. 

ON THE DEATH OF HAMILTON. 

Sad, my fellow citizens, 
are the recollections and forebodings, 
which the present solemnities 
force upon the mind. 

Five years have not elapsed, 

/ 

since your tears flowed for the Father of your country, 

and you are again assembled, 

\ 

to shed them over her eldest Son. 

[ . / 

The urn which bore the ashes of Washington, 

is followed 

by the urn which bears the ashes of Ha milt on . 

Dr. Mason. 

2. Impassioned Sentiment. 

In the preceding style of simple or unimpassioned sentiment, 

£ the speaker yields himself passively to spontaneous impulses. 

v "^ He is borne on by a current, while his audience are carried along 

J by sympathy — which, however, is not so much with the speaker, 

as with ideas which interest both alike. 






IMPASSIONED SENTIMENT. 379 



In Impassioned Sentiment, the speaker is either actuated by 
Some one of the emotions or passions, which are common to 
men, and have their specific names in every language, or, as in 
the case of Impassioned Affirmation, he feels an excited and 
intense earnestness, which is of the nature of passion. 

This impassioned earnestness produces an internal activity 
and energy of mind and body. In the affirmative class of styles, 
the impassioned energy seems external (objective,) and resem- 
bles that of some bodily labor or exercise, such as fencing, me- 
chanical employments, and athletic sports. But in the styles of 
sentiment, the body may be outwardly calm (except in the ex- 
pression of the countenance,) while a vehement state of emo- 
tion exists within, and produces impassioned tones, by an ex- 
cessive and exhausting internal effort of the vocal and respira- 
tory organs. 

Although, as has just been mentioned, various definite emo- 
tions may occur in this style of delivery, yet even these have, in 
addition to the natural tones and gestures by which they are 
expressed, a general enforcement given them by means of the 
prevailing tone of impassioned earnestness of sentiment. 

This tone is the vanishing stress on each syllable. 

It is exactly the reverse of the radical stress; the syllable 
commences with a feeble and almost imperceptible sound, and 
rapidly increases in force to the end, at which it leaves off ab- 
ruptly. The extreme termination of the slide is its loudest part. 

The bodily exertion by which this is effected, is that of a 
strong action of the breast and of the internal muscles of respi- 
ration and voice. In the most vehement efforts, the action is 
violent and even convulsive. It is always accompanied by a 
decided sensation at the bottom of the breast and pit of the 
stomach, of a strong effort to express deep inward feeling. 
Though the sensation is not ordinarily noticed, yet it is recog- 
nized by every one whose attention is turned to it. When great 
and prolonged strength of voice is employed by a person speaking 



380 



EXPRESSION 



in this style, the external muscles below the pit of the stomach 
are brought into forcible action, so as to flatten the body in front ; 
they thus assist in expelling the breath, and in keeping the 
chest full while the vocal organs are making a powerful effort 
on the termination of the syllable. From these physiological 
facts originate certain descriptive words and phrases of lan- 
guage, such as deep, or profound earnestness, deep emotion, 
yearning sympathy, and others. 

The tone we are now considering, is not only the prevailing 
one of dramatic elocution, but is one of the most common that 
we hear in every day life ; meeting us whenever emotion is ex- 
pressed in conversation. The sobbing enunciation of words 
which we hear from a child weeping with indignation and an- 
ger, consists of the highest decree of the vanishing stress, on 
the slide of the semitone. We say the highest degree : for in 
the conversation of those who are less excited, different degrees 
are exhibited according to the amount of excitement. 

When large rooms are to be filled, and when serious earnest- 
ness, and strenuous efforts to influence an audience, are called 
for, the long continued use of this tone is in the highest degree 
exhausting to the speaker. No skill in speaking, nor judgment 
in managing the breath, can wholly prevent such an effect. It 
is the instinctive and necessary employment of impassioned sen- 
timent, which breaks down the health of those clergymen, who 
fulfil the precept of Horace : 

" Si vis me flere, dolendum est ipsi tibi." 

If you wish me to feel, first feel yourself. 

It was this physical and mental effort, which made Mrs. Jordan, 
a celebrated tragic actress, frequently vomit after leaving the 
scenes, and which caused Whitefield sometimes to vomit blood - 
after preaching. A protracted continuance of it produces a 
sensation of sinking and distress at the stomach, which often 
destroys the appetite for a time, and makes the stomach revolt 



IHPASS10 N 1 1> S B N T I M r: N T . -> s I 

at food. Yet let no one hope to be able to move the feelings of 
an audience without employing it: for it is the sole provision of 
nature for that purpose. The only remedy for exhaustion or 
impaired health, thus produced, is simply rest. 

The previous extracts which require this style are at pp. 124, 
144, 145, 140, 154, 167, 108, 213, 218 (at the bottom,) 286, 
291,314,319,322,327. 

All the extracts however, in the first and second parts 
of this volume, which we have referred to under the 
head of Impassioned Affirmation, may without impro- 
priety, be spoken in the style we are now considering. 

It depends on the speaker's personal character, and on 
the circumstances in which he is placed, whether it is 
most proper to appeal primarily to the understandings, 
or to the feelings of those whom he addresses. 

Having furnished an example of the triumphant energy of 
Demosthenes in Impassioned Affirmation, it will be interesting 
to see exemplified his power in Impassioned Sentiment. 

FROM DEMOSTHENES. 

\ [nians, 

There are two distinguishing qualities^ Athe- 

\ 
which the virtuous citizen should ever possess; 

/ 
a z e a 1 - for the honor and preeminence of the state; 

/ 
in his official conduct, 

and, on all occasions - and in all transactions, 

\ 
an affe ction - for his country. 

This 

\ 

nature can bestow. 

33 



382 EXPRESSION, 

Abilities and success 

\ 

depend upon another power. 

and in this affection, 
you find m e 

fi r m and invariable. j 

: i :\ 
Not the solemn demand of\my person , 

/ \ 

nor the vengeance of the Amphictyonic council, 
[which they denounced against me, 

\ 
nor the terror of their thr eat ening s , 

\ 
nor the flattery of their promises, \/ 

[roused like wild beasts against me, 
n o , nor the fury of those accursed wretches - whom they 

could ever tear this affection from my breast. 

\ 
From first to last , 

I have uniformly pursued 

the just - and virtuous - course of conduct ;\ 

/ 
asserter of the honors, 

/ 
of the prerogatives, 

of the glory of my country. \ 

/ 
Studious - to support them, 

/ 
zealous - to advance them, 

\ 
my whole being 



IMPASSIONED SENTIMENT. 383 

is devoted to this glorious cause. \ 

J 

was neve r k n own / 

[ t i o n - at the success ofnforcign power ; 
to fnarch through the city with a lace of j o y and e x u 1 1 a - 

embracing, and announcing the joyful tidings, 

/ 
to those who I supposed would transmit it to the proper place. 

[country, 
I was never known to receive the successes of my own 

\ 

with tremblings; 

\ 
with sighings; 

\ 
with eyes bending to the earth, 

\ 
like those impious men who are the d e f a m e r s of the state, 

as if, by such conduct, 

/\ 
they were not defamers of themselves: 

/ . 
who look abroad, « 

/ 
and when a foreign potentate 

has established his power on the calamities of Greece, 

\ 
applaud - the event ; 

\ 
and tell us we should take every means to perpetuate his power. 

^r b^i ■'■- x 

' H e a r nye , ye immortal gods! 

and let not - these their desires be r a t ifi ed in heaven! 

\ 
Infuse a better spirit into these men ! 

\ 
Inspire even their minds with purer sentiments! 



384 EXTRESSION. 

\ 

This is my fi r st prayer. 

Or, 

/ 

if their natures are not to be reformed, 

\ 

ON THEM, 

\ 
On THEM ONLY, 

\ 

discha r g e your vengeance! 

\ 
Pursue them both by land and sea! 



Pursue them even to destruction! 

But, to us, / 

[from impending evils . 
display your goodness, iua speedy deliverance 

[qui Hit y . 
and a 1 1 the blessings of protection and tr an- 

As the voice of criticism has, in every age, pronounced the 
orations of Demosthenes to be unapproached in power by any 
subsequent compositions, we add another extract from his fa- 
mous defense. Our limited space, however, compels us to place 
in immediate succession, two passages winch are separated in 
the oration by a long one even superior in power to that which 
precedes it. The conclusion is considered a more sublime ap- 
peal than is to be found in any other uninspired address. 

But, Athenians, 

since Aeschines has insisted so much - upon the event, 

\ 
I shall hazard a bold assertion. 

I s a v , then, 

\ 
that, had we all kno w n 



IMPASSIONED SENTIMENT. 385 

what fortune was to attend our efforts ;\ 

\ \ 

had we a 1 1 f o r e s ecn the final issue : 

\ 

had you foretold it, Aeschines, 

\ 
(you, ichosc voice icas never heard,) 

\ 
yet, even in such a case, 

\/ 
must this city have pursued the very same conduct, 

\ 

if she had retained - a thought, 

\/ 
of glory, 

/ 
of her ancestors, 

\ 

or , of p o s t erit y . 

[army, 

If Philip had been chosen general of the Grecian 

/ [insidious nomination, 

and some other state had drawn the sword against this 

/ 
and fought the battle unassisted by the Athenians , 

that people who, in ancient times, 

\ ... "'i / 

never preferred inglorious security to honorable danger, 

\ 
who would not have spurned you with scorn? 

\ ! > * 

But it cannot be! 

\ 
No! my countrymen! 

\ 
it cannot be, \ 

[for the liberty and safety of all Greece. 
that you have acted wrong, in encountering danger bravely • 
\ 
No! 

33* 



386 



EXPRESSION. 



\ 

[were exposed at Marathon! 
By those generous souls of ancient times - who 

\ 
By those who stood arrayed at Plat a a! 

\ 

by those who encountered the Persian f 1 e e t at Sai,a- 

\ [ M 1 si 

who fought at Artemisium! 

\ . / 

By a l l those illustrious sons of Athens, 

\ 

whose remains lie deposited - in the public mon- 
\ [urn ent s! 

all of whom \ 

[country! 
received the same honorable interment - from their 

/ 
Not 

/\ 
those only who prevailed, 

/ 

NOT 

/\ 

those only v)ho were victorious. 

\ 
And with reason. 

What was the part of g all ant men , 

\ 

they all performed. 

\y 

Their success 

was such as the Supreme Director of the World 

dispensed to each. 

2. a. Impassioned Pathetic Sentiment. / 

This is distinguished merely by the slide of the semi- 
tone. 



IMPASSIONED PATHETIC SENTIMENT. 387 



Passages requiring it, abound in the drama, and in novels. 
Being of unfrequent occurrence in oratory, even in that of the 
pulpit, a short extract will suffice for practical illustration. 

The following certainly requires a pathetic delivery; but the 
pathos must be that of a man, and the key of the voice a 
deep and even rough bass. The whining pathetic, which is 
sometimes assumed by those who affect an interesting style of 
speaking, will be ludicrous when applied to the masterly elo- 
quence of Cicero, who was not only an orator, but a command- 
ing statesman. 

CICERO AGAINST VERKES. 

It was in v ain that the unhappy man cried out, 

\ 
" I am a Roman citizen; 

\ 
" / have served under Lucius P r etiu s , 

\ 
" ivho is no iv at P anormus , and will attest my inno- 

[ cenc e." 
The bloodthirsty Praetor, 

deaf to a 1 1 that he could urge in his own d e f e n s e , 

orders the infamous punishment to be infli ctcd. 

Thus, Fathers, was an innocent Roman citizen 

\ 
publicly mangled with scourging; 

f sufferings, 

whilst the only words he uttered, amidst his cruel 

were, " I am a Roman citizen! 1 ' 

With these , 

/\ [famy. 

he hoped to defend himself! from violence and i n- 

/ 
But of s o little service - was this privilege to him, 



388 EXPRESSION. 

/ .[ship, 

that while he was thus asserting his privilege of citizen- 

\ 

the order was given for his execution! 

for his execution- upon the CROSS ! 

\ 
O liberty! 

O sound once - delightful to every Roman ear ! \ 

O sacred privilege - o/Roman citizenship!\ 

/ 
once sacred, 

\ 
no io trampled upon ! 

3. Hortatory Sentiment. 

This requires the highest excitement, and the most 
vehement exertion that can be employed in speaking. 

At the present day it is almost never heard, except from fa- 
natics and ignorant enthusiasts. Those who write what de- 
mands a true hortatory sympathy in delivery, generally shrink 
from the fearless, and yet manly, abandonment, without which 
the genuine tones of exhortation cannot be given. A student 
of elocution will never succeed in exhibiting this and some oth- 
ers of the most powerful tones, by merely imitating a model. 
The vocal organs refuse to obey the commands of mimicry, or 
of cold hypocrisy, in respect to the genuine language of strong 
personal emotion. We cannot learn to exhibit such tones at 
will, except by disciplining the imagination, until we become 
able to put ourselves into the actual state of feeling from which 
they result. 

In exhortation, as in contentious affirmation, the speaker ex- 
erts himself to the utmost to influence others. 

For this purpose, he intentionally enforces and strength- 
ens the exhibition of his internal emotion. 



HORTATORY SENTIMENT 



389 



Yv'hereas in the most powerful of the affirmative styles, he 
compels the attention of his hearers, and forces them to think 
and reason with him, in this, he compels them to sympathize 
with him in his feelings. 

Strong internal emotion being in itself exhausting, and being 
much more so, when the speaker superadds a vehement 
strengthening of its exhibition, this is the most fatiguing of all 
styles of addressing an audience. Genuine and powerful ex- 
hortation, however, is never appropriate or useful for very long 
at a time. 

The tone of exhortation is produced by the thorough 
stress, increasing in force to the end of the syllable. 

The thorough stress is an increased force throughout 
the whole extent of the slide. 

In other forms of stress, there is a relaxation of the vocal 
muscles, and a corresponding dullness, or tendency to huskiness 
of sound, on some part of the slide. There are one or two 
other varieties of the thorough stress besides the hortatory; this 
being characterized, as just mentioned, by a greater energy at 
the end than at the beginning of the syllable. 

In parts first and second, the extracts at pp. 70 and 140, are 
specimens of hortatory composition, and admit of the style of 
address now under consideration. 

The following extract is from the same harangue by Mira- 
beau, from which we selected a passage to illustrate the strong- 
est of the affirmative styles, vide p. 3G1. It is a peroration, in 
the form of an overpowering appeal to the imagination and 
feelings. 

\ 
This, then, is the point to which you are advancing. 

\ 
I hear much said of p a t r i o ti s m ! 

\ 

appeals to patriotism ! 



390 EXPRESSION. 

\ 

transports! of patriotism. 
Gentlemen, 

why prostitute this noble word ? 

Is it so very magnanimous, 

/ 
to give up a p a r t - of your income, 

/ 
in order to save - your whole property? 

\ 

This is simple arithmetic! 

/ 
and he that hesitates, 

\ 
deserves contempt! rather than indignation. 

\ 

I exhort you, then, most earnestly, 

\ 
to vote- these extraordinary supplies. 

\ 
Vote them, 

\ 
I beseech you ; 

\ 
vote them at once; 

\ 
for the crisis does not admit of delay ! 

/ 
and if it occurs, 

\ 
w e must be responsible for the consequences! 

\ 

Bankruptcy! * 

\ 

NATIONAL BANKRUPTCY is before }OU. 

It threatens to swallow up 

\ 
your persons, your property, your honor! 

\ 
and yet you deliberate! 

Mirabeau. 



HORTATORY PATHETIC SENTIMENT. 391 



3. a. Hortatory Pathetic Sentiment. 

Ill this style, the slide is the semitone ; the stress be- 
ing the same as in the preceding. 

Our extract is from Adherbal's appeal to the Roman Senate, 
j against Jugurtha. 

/ 
Fathers! 

/ 
i Senators of Rome, 

/ 
the arbiters of the world! 

\/ 

T o y ou I fly 

for refuge from the murderous fur y of Jugurtha. 

\ 
By your affe ction for your children; 

\ 
by your love for your country; 

\ 
by your own virtues; 

\ 
by the majesty - of the Roman Commonwealth; 

\ 

by all that is sacred, and all that is dear to you ; 

deliver 

/ 
a wretched prince 

\ ; 
from undeserved, unprovoked injury ; 

\ 
and save the kingdom of Numi di a, 

/ 
which is your own property, 

from being the prey 

/ 
of violence, 



\ 



392 EXPRESSION. 

/ 

usurpation, 

\ 

and cruelty. 

Sallust. 

The translation just given, seems to have been made by the 
author of "The Art of Speaking," who was head master of 
one of the great English schools, about the middle of the last 
century. Though admirable, it makes no pretence to being 
literal. We therefore subjoin the original, and a translation 
which aims to be close. We sometimes also substitute simple 
rising for emphatic falling inflexions, in accordance with what 
we conceive to have been characteristic of ancient elocution. 

/ 
Patres conscripti, 

/ 
per v o s , per lib er o s , atque p ar ent e s , 

/ 
per majestatem Populi R o m'ani , 

subvenlte mis er o mi h i;\ 

it e obviam inj ur i <b;\ 

/ 
no lite pati r eg num N umi di ce , 

quod v est rum est, 

per 5 eel us et sanguinem familiae nostras, 

t ab e s c er e . 

Sall. Jug. c. xiv. ad fin. 

/ 
Conscript Fathers, / 

[parents, 

by yourselves, by your children, and by your 

/ 
by the grandeur of the Roman nation, 






MIXED STYLES. 393 

grant me aid in my wretchedness ;\ 

interpose against wrong;\ 

/ 
suffer not the kingdom of Nu midi a, 

\/ 

of which you are the owners, 

through the crimes and the bloody deaths of our family 
to waste away and be destroyed. 

MIXED STYLES. 

A passage is occasionally met with, which seems to require a 
union of explanation and sentiment. Since a waving slide on 
each syllable gives a tone of explaining thought, and the van- 
ishing stress expresses Impassioned Sentiment, the union of 
both will present a style in which ideas are explained to the 
understanding, and also urged by an impassioned earnestness 
of appeal. This we conceive to be the true description of the 
tone actually heard in an appropriate delivery of the powerful 
extract at p. 245. We may therefore call its style a union of 
Argument with Impassioned Sentiment. 

By a similar enforcement of the wave by thorough stress, the 
Hortatory may be made Explanatory. We shall perhaps thus 
have the most overpowering mode of exhibiting our last extract 
from Mirabeau, p. 389. 

But not only may Impassioned and Hortatory Sentiment be 
united with the explanatory tone; the same is also true of Sim- 
ple Sentiment. Thus each of the three styles of sentiment may 
be compounded with explanation. 

But in addition to this number of mixed styles, there would 
seem to be no incompatibility in a union of a wave of the semi- 
tone with each of the forms of stress which characterize the 
three primary styles of sentiment. If this be so, then the six 
sentimental styles may each be of two kinds, according as they 

34 



394 EXPRESSION. 

are explanatory or not. Examples of all these varieties might 
probably be found in the drama. When we mentioned, some 
pages back, that the mixed styles are few, it might have been 
more correct to say that they are of infrequent occurrence. 

The following extract appears to demand a tone of explana- 
tion, and also to require to be presented in manner of a simple 
appeal, i. e. in the tone of Unimpassioned Sentiment. Its style 
will thus be a union of Explanation and Simple Sentiment. It 
admits likewise of being delivered with the stronger enforce- 
ment of Impassioned Sentiment. Argument presented as in 
this passage, is generally accompanied by exhibitions of wonder 
and surprise, which may be either calm or impassioned. The 
passage is a continuation of the extract on p. 278. 

My worthy colleague says, 

\ 
his will ought to be subservient - to yours. 

/ 
If that be all, 

\ 
the thing is innocent. 

If government were a matter of will, - upon any side, 

\ 

yours, without question, 

\ 

ought to be superior. 

But government and legislation 

\ 

are matters of reason, 

\ 

and judgment, 

/ 

and not of inclination ; 

/ 
and what sort of reason - is that, 

\ 
in which the determination precedes the discussion ; 



CONVICTION. 395 



in which one set of men deliberate, 

\ 
and another decide ; 

/ 

and where those who form the conclusion, 



are perhaps three hundred miles distant 

\ 
from those who hear the argument. 



Burke. 



CONVICTION. 



Finally, there is a peculiar style of speaking which not un- 
frequently occurs in debate, and seems to demand a notice be- 
fore leaving the subject of Expression. 

It is heard when a debater expresses his settled con- 
victions ; while he neither appeals to the assent of others, 
nor even endeavors so to act on their minds as to make 
them reason along with himself. 

He says, by his manner, " This is the truth ; I am satisfied in 
my own mind. I must continue to hold these opinions, whether 
you agree with me or not." The tone is often heard when a 
speaker is closing a debate, or summing up a series of argu- 
ments. Too strong an exhibition of it, gives the manner of 
dogmatism. 

This peculiar manner seems not to depend on either of the 
modes of stress. It appears rather to be an instance of what is 
called by Dr. Rush, the ''drift of the falling third." Falling 
inflexions are given to as many as possible of the emphatic 
words. Their number therefore becomes uncommonly great, 
and characterizes the whole delivery. But another peculiarity 
is equally characteristic. The emphatic failing inflexions do 
not commence on so high a pitch, as in other modes of present- 
ing argument. Consequently, the voice does not make as wide 
skips in pitch; its whole current is more even, and approxi- 
mates to a monotone. 



396 EXPRESSION. 

The following extract affords a good exemplification. 

STANDING ARMIES. 

\ 

Sir, we have heard a great deal about parliamentary ar- 
\ [mies, 

and about an army continued 

\ 
from year to year. 

/ 
I always have been, Sir, 

\ 
and always shall be, 

\ 
against 

a standing army, of any kind. 

\ 
To me it is a terrible thing. 

/ 
Whether under that of parliamentary, 

\ 

or any other designation, 

a standing army 

\ 

is still a standing army, 

\/ \ 

whatever name it may be called by. 

They are a body of men 

\ 
distinct from the body of the people ; 

\ 
they are governed by different laws; 

and blind obedience, 

\ 
and an entire submission to the orders of their commanding of- 

jiccr, 
\ 
is their only principle. 



TREHOI OF I II ■ V O i C E . ^07 

\ 

. The nations around us, Sir, 

/ 
i are already enslaved, 

and they have been enslaved 

. ... . \ 

by these very means ; 

by means of their standing armies, 

\ 
they have every one lott their liberties : 

\ 
it is, indeed, impossible', 

/ 
that the liberties of the people can be preserved in any country, 

where a numerous standing army is kept up. 

PtLTNEY. 
THE TREMOR OF THE VOICE. 

When the nervous and muscular systems are tasked to their 
utmost, in the expression of sentiment or passion, the voice is 
characterized by a tremulous tone. This tone is familiar to 
every one from the exhibitions of it which so often occur in 
common life, when persons are actuated by strong feelings of 
joy or grief, hope or fear, anger or tender sympathy, and by 
some others of the most common emotions. 

In dramatic elocution, the tremor is of frequent occurrence. 
Tt may be required in farce, or in comedy, and produces some 
of the most powerful effects in tragedy. 

But in oratory, it is rarely indulged in, and need not be cul- 
tivated. It is well, however, for a student of elocution to be 
aware of its existence as a natural exponent of emotion, and 
sometimes to indulge himself, to a moderate degree, in its use. 
When cultivating the utmost depth and earnestness of expres- 
sion ; when his emotion gives him a sensation of speaking from 

34* 



398 EXPRESSION. 

the lowest depths of his breast, and produces a convulsive ac- 
tion of that part of his frame; he will find his voice naturally 
incline to a tremor on the most passionate words. A slight 
degree of this tremulousness may sometimes be indulged in, to 
increase his expressiveness. 

If, however, he deliberately makes use of the tremor, so that 
the hearers are led to notice the fact of his doing so, the effect 
will be undesirable in any delivery which is intended to be 
useful. 

A decided tremor results in fact, from bodily weakness, when 
the speaker is under the influence of an overmastering feeling. 
Any considerable manifestation of weakness is injurious to 
oratory. The hearers commiserate the speaker, instead of yield- 
ing themselves up to his influence. 

The tremor, like the semitone, is very easy to execute by 
those who cultivate an affectation of emotion, instead of a gen- 
uine eloquence, and is therefore liable to be resorted to, by those 
who practise what may be called tricks in delivery 

/I 



399 



PART IV. 

LESSONS FOR EXTRACTS SELECTED BY THE 
STUDENT. 

As Speaking cannot be learned without considerable prac- 
tice, it is essential to its rapid and certain acquisition, that the 
student have some guide for the modes of practice. 

The following course of lessons, is the result of long contin- 
ued efforts to discover what difficulties a student of elocution 
experiences, when endeavoring to prepare himself for appearing 
successfully before an audience. 

Each lesson has been tested and improved by the experience 
of successive classes in college, until all have finally been 
brought into the form in which they are now presented. It has 
been made a standing rule, to reject every thing from them 
which was found to be either unnecessary, difficult, or disagree- 
able ; and on the other hand, to add to them all the information, 
and describe every mode of practice, which any one, whatever 
may be his turn of character in reference to public speaking, may 
find necessary for enabling him to make a creditable appearance. 
If it be asked what has been taken as the test of practical suc- 
cess, we answer, a consciousness of being able to speak with 
steadiness, manliness and force; and if not with a decided 
gracefulness, with at least a freedom from any noticeable awk- 
wardness, as well as from any schoolboy tone. The true an- 
swer, however, to this question, is found in the lessons them- 
selves, which are intended to present, not ideal, but practical 
and attainable standards. No lesson or direction is founded on 
an expectation that the student who is to practise it, has a ge- 
nius fur oratory, or is even engaged in the study of that branch 



400 LESSONS FOR EXTRACTS. 

of the liberal arts. Oratory makes use of Speaking, in the 
same way as the art of composition makes use of grammar. 

But in addition to the advantages for practice and instruction 
which this plan affords, we derive the benefit of a convenient 
opportunity for explaining many points in reference to speak- 
ing, which are important to be known, but which if discussed 
in the systematic manner of the preceding parts of this trea- 
tise, would swell the volume to a larger bulk. Though less sys- 
tematic and perhaps less agreeable for the general reader, the 
method in which we shall introduce such miscellaneous infor- 
mation, will be more useful to the practical student. 

It seems best to give full directions on each point, although 
in many cases some ideas in the first part of the volume are, 
by so doing, repeated. 



ESTABLISHED CUSTOMS. 

The following are the most important of the customs, in re- 
gard to practising before the instructor, which have gradually 
become established in this college, as convenient and useful. 

The appointments are five minutes apart for each student, 
and in alphabetical order of names. 

As it is impossible for every one to be, in every instance, punc- 
tual to a minute, and accidental interruptions are liable to oc- 
cur, the students are in the habit of accommodating each oth- 
er, by waiting, if necessary, and allowing each other time to 
speak in the order of arrival. When it is particularly inconve- 
nient for one to wait, his classmate yields his turn, although he 
may have come first. No difficulty ever occurs between stu- 
dents, from want of a spirit of mutual accommodation. 

It thus happens, that very often the student who is practising 
has a classmate present. The latter generally waits in a part 



ESTABLISHED CUSTOMS. 



401 



of the room not immediately in front of the speaker; as it is 
easier and better to imagine an audience present, than to at- 
tempt to make a single person a substitute for an assembly. 
For the same reason, the instructor generally remains on one 
side, and the speaker never addresses him directly. The ex- 
amples likewise that are set by the instructor, are not addressed 
to him who is practising, but to an imaginary audience. 

Instruction is in most cases given, whilst the speaker's deliv- 
ery is in full flow. It thus comes at the precise moment when 
it is wanted. The principal reliance in instruction, is placed, 
on telling the speaker not when he is wrong, but when he is 
right. Simply mentioning faults, is rarely of any service. It 
is intended never to interrupt or make a criticism, without at 
the same time giving a direction that shall at once unfetter the 
speaker from the embarrassment of some practical difficulty 
which he is at the time experiencing, in regard to executing 
his own intentions. 

The accidental and occasional presence of a classmate, or of 
one of the especial instructors of the student's own class, is at- 
tended with many advantages. It gives habits of steadiness 
and self-possession, without which none can practically succeed 
in public delivery. The instructor likewise is so far removed 
in age and experience from the student, that it is not so easy in 
many cases to learn directly from him, as indirectly through 
the success of a classmate. Every example of truly good de- 
livery given by a student before his fellows, has a powerful in- 
fluence in assisting as well as encouraging them to do the same. 
On this account, as well as for the student's own sake, great 
pains are taken, not to suffer any one to speak before his class, 
who will so far fail, as to discourage his companions, and by 
his faults confuse their judgment as to what is correct, natural 
and practicable. 



402 LESSONS FOR EXTRACTS 



GENERAL PLAN OF LESSONS. 

During the Sophomore and Junior years, each student 
receives private instruction for one week of each term. 

He practices in the Chapel once a day for five days, viz. on 
Thursday and Friday, and on Monday, Tuesday, and the morn- 
ing of Wednesday. He then declaims before his class on 
Wednesday afternoon. 

On each day of practice he receives a distinct lesson on some 
one essential point of delivery. 

These five lessons have reference to some one important 
style of delivery, which is the especial object of study during 
the term. 

A higher style of delivery is cultivated in each successive 
College term, and each term has its peculiar series of lessons. 

The whole, now for the first time printed, exhibits the mode 
of preparing for public speaking which has been for several 
years established in Yale College. 

RULES OF PRACTICE. 

Experience has established the value of the following rules. 
v Rule I. To secure the greatest improvement, the ex- 
tracts should always be in prose. 

The public recitation of poetry is a separate branch of elo- 
cution, and presents several difficulties which are not provided 
for in these lessons. 

Inexperienced speakers should select for early practice, ex- 
tracts from debates, orations, or pleadings of lawyers. These 
are easiest to speak. But as soon as some skill and experience 
have been gained, it is very important to practise on extracts 
that were not originally written to be spoken, and are interest- 



I 



6 B N E R A L PLAN. 403 

| ing solely from the value of their thoughts and the beauty of 
I their language. 

i ^ Rule II. The extracts should be selected with refer- 
ence to the value and interest of the thoughts which 
j they express. 

It is impossible to acquire a good delivery, by practising on 
j extracts weak in matter and bombastic in style. 

/ Rule III. The extracts should never be more than 
three, and often not more than two minutes in length. 

Longer compositions must be studied and practised in sepa- 
rate portions. Different paragraphs and parts of complete com- 
positions require different styles of delivery. 

The higher the style of speaking aimed at, the shorter must 
be the passage to be spoken, in order to afford an opportunity 
for the fullest possible development and expansion of thought 
and feeling in delivery. Among orators of high reputation, it 
will be found that the higher the oratory, the fewer are the 
words employed, and the shorter is the discourse. 

Rule IV. Each series of five lessons must be practis- 
ed on the same extract. 

Rule V. In practising with an instructor, each lesson 
should be on a separate day. 

If they are all practised in succession and at one rehearsal, 
they will confer comparatively but little benefit. 

> Rule VI. Each lesson should be mastered in a short 
period of time. 

Earnest effort, with the assistance of an instructor, will gen- 
erally secure a mastery of each lesson in about Jive minutes. 
It is of the highest importance to practise vigorously for a short 
time, rather than feebly for a longer period. Unhesitating and 
prompt habits, and the ability to bring one's powers instantly 
into action, are essentially necessary in public speaking. 



404 LESSONS FOR EXTRACTS. 

No student, however, will do himself justice in speaking, 
without considerable private practice. Yet even this ought in 
most cases to be methodical — that is, with the definite object of 
acquiring improved habits in respect to some particular point 
in delivery. 



SOPHOMORE YEAR, FIRST TERM. 

STYLE OF DELIVERY TO BE ACQUIRED. 

This may be called Business Speaking. 
When eloquently exhibited, the eloquence will be 
that of natural and extemporaneous earnestness. 

PRACTICAL USES OF THIS STYLE. 

To command respect and secure attention. The lowest de- 
gree of a good delivery secures these objects, whatever be the 
time, place or occasion. Unless by his delivery a person can 
at least command attention, he cannot be considered as quali- 
fied for public speaking at all. 

It should be impossible for an audience to distinguish, by the 
delivery, whether a composition is written or extemporaneous. 

It is not difficult to arrive at this degree of ability in delivery. 

If it is attained, the discipline of the whole College course 
of study will certainly make the student an extemporaneous 
speaker. 

FAULTS TO BE PREVENTED. 

In general the monotonous and formal habits, which cause a 
speaker to seem not to believe or feel what he says. 

The most important precept is, to think intensely while 
speaking. 

When practising in private, attend to some particular quality 
in delivery, in order to form good habits. 



SOPHOMORE YEAR, FIRST TERM. 



405 



But when actually addressing an audience, never think of 
how you are speaking, but of what you are speaking. 

lessons . 
Remarks. — The lessons are of two classes. The 
first and second, have reference to making the sense of 
what is spoken intelligible. 

The very first lesson, however, is intended to exhibit a natu- 
ral and extemporaneous style of speaking. This can be effect- 
ed, by strictly confining the effort to a plain and forcible exhi- 
bition of mere thought. 

The two first lessons command attention, and make the de- 
livery natural, forcible and distinct. They also discipline the 
voice and gesture preparatory to attempting the next, which are 
to be more polished and expressive. 

Hence in the first lessons, no more should be attempted than 
can be thoroughly mastered at a single first effort. The student 
must defer the most interesting expression which he feels him- 
self capable of giving, until he practises the lessons on expression. 
The great additional advantage will thus result, that expression, 
and what is most beautiful and interesting in delivery, will have 
a solid foundation in thought and common sense. And thus 
all danger of becoming theatrical will also be avoided. 

The third and fourth, practise the speaker in expres- 
sion. 

The fifth lesson combines the qualities thus far acqui- 
red, into one harmonious whole. 

In this lesson the speaker yields himself wholly to the im- 
pulse of thought and feeling. 

The result will be an exhibition of the natural elo- 
quence of the speaker, developed and improved by pre- 
paratory lessons in Elocution. 

35 



406 LESSONS FOR EXTRACTS. 

The distinction is always kept in view, between such elocu- 
tion as is acquired merely by rule, and a spontaneous and cap- 
tivating eloquence. 

Though thought and feeling cannot be directly taught, yet 
certain modes of practice will excite them. Habits may be 
formed of vividness of mind in speaking. When this has 
been done, the very act of speaking will arouse the mind to 
activity, and kindle the feelings. 

Lesson I. 

MANLY ATTITUDE AND GESTURE AUDIBILITY — DISTINCTNESS. 

Directions. — 1st. Stand simply erect. Gesture freely 
to assist the voice. 

Be careful to extend the arm forwards with manly 
freedom and heartiness. 

2d. Propel the voice to the farthest extremity of the 
room, and give its sound a manly force, to command 
respect and attention. 

3d. Be deliberately distinct. That is, do not suffer 
the words and syllables to be huddled together. This 
is to be done by attending to the natural grouping of 
the words. 

Be careful to give a separate impulse of the voice to 
each grovp, yet in a smooth and natural manner. 

Whenever two groups are attempted to be uttered at one im- 
pulse, the utterance will inevitably be indistinct. 

In uttering each group, be careful to exert a vigorous 
action of the mind, to impress the idea on the audience. 

Particular use is also made of this lesson to discipline the 
voice, so that subsequently no exertion may be necessary to en- , 
able the speaker to fill the large room in which he speaks. 



SOPHOMORE YEAR, FIRST TERM. 407 

The upper key is first practised, for the purpose of enlarging 
the compass of the voice and giving dignity to its whole range. 
By the subsequent lessons in expression, the lower key is dis- 
ciplined. Thus the whole compass of the voice is not only 
adapted to the large room, but is improved in its quality. Its 
tone becomes fuller, smoother and more interesting. Also, by 
employing a high key in this first lesson, the speaker can, at 
first, succeed better in respect to an extemporaneous and sin- 
cere manner. 

Consequently, to secure the greatest amount of improvement 
from this lesson, the speaker should use much more loudness 
than will be expedient in the subsequent ones. Loud speaking 
is at first easier than that in which the voice is subdued. It is 
only by strong practice, likewise, that the quality of the voice 
can be improved in dignity and steadiness of tone. 

The most difficult part of this lesson, is the steady slowness 
that is required for large rooms. Even speaking that is appa- 
rently rapid, must be, in fact, much slower when adapted to 
large audiences, than when given in a small room. 

This steady and deliberate slowness, likewise, prepares the 
speaker for that ease and composure which will be required in 
the last two lessons. 

Lesson II. 

ARTICULATION. 

Directions. ^Speak in the same manner as in the first 
lesson, but in addition take especial pains in articu- 
lation. 

Thus the syllables will not only be distinct from each other, 
but each letter will be articulated. 

Besides however the finish and perfection which this lesson 
is intended to give to the articulation and gesture, it has anoth- 
er object of still greater importance. Articulation may be per- 



408 LESSONS FOR EXTRACTS. 

fectly distinct, and yet the tone of voice remain unmeaning. 
It is sometimes observable, that those who take great pains with 
their articulation, neglect at the same time to keep the voice in 
a natural and interesting tone. 

Therefore, in this lesson, articulation must be employed as 
an instrument for explaining thought. The voice must be 
made as flexible as possible. The waving and varying tones of 
explanation and setting forth ideas, as if the speaker were 
carefully inculcating his own opinions, must be patiently culti- 
vated. 

Upon this and the preceding lessons depends the acquisition 
of those qualities which cause a speaker to appear as if extem- 
porizing. 

Even when the stvle of delivery appropriate for the composi- 
tion is that of sentiment, the practice of the tone of sentiment 
is deferred to the next lesson. In the present lesson, every 
composition is spoken with explanatory and argumentative turns 
of voice. This prevents falling into what are called tones in 
speaking, and causes the final delivery to exhibit the requisite 
medium between pure sentimeut and pure thought. 

In addition to simple manliness of attitude and gesture, 
let them be carefully adapted to the size of the room. 

The farther off the more distant part of the audience are, 
the more erect is the natural attitude, and the higher i3 the 
hand raised in appealing to them. 

In large rooms, the hand, in ordinary gesture, must rise at 
least as high as the shoulder or the upper part of the breast. 

In this lesson also, the speaker finds himself sufficiently at 
leisure, to watch the flexibility, variety and grace of his action. 
It is therefore advisable to gesture during the whole of the les- 
son, and deliberately to study significance and variety of motion. 






SOPHOMORE YEAR, FIRST TERM. 409 

Lesson III. 

EARNESTNESS. 

Remarks. — The object of this lesson, is to establish the habit 
i of expressing real thought and feeling. 

Every tone and gesture should have the peculiar modification, 
j which only -exists when there is a hearty effort to interest and 
| convince the audience. 

This is most easily effected, when the audience is small, and 
near the speaker — as, for instance, when a lawyer addresses 
I a jury. 

Therefore, in this lesson, practise as follows. 
Directions. — Imagine a few persons in the seats near 
you, and address them with the most pointed and hearty 
earnestness. 

In attitude, lean forward towards them, bending at 
the hips. 

In gesture, direct the hand towards them. 
Take more especial pains to be pointedly earnest on 
the emphatic words. Be sure to speak them with suf- 
ficient force. Dwell also upon them in an earnest 
manner. 

In private practice carry this earnestness to a great extreme, 
even to the degree of violence. If this be faithfully done, the 
voice and gesture will become habitually spirited and interest- 
ing, even in the calmest and most quiet moods of delivery. 

Lesson IV. 

ELOQUENCE. 

Remark. — Eloquence cannot like elocution be learned from 
a teacher. Yet a person may teach himself to be eloquent, 
and an experienced teacher can afford him considerable assist- 
ance. 



35* 



410 LESSONS FOR EXTRACTS. 

Directions. — Practise the same pointed address, as in 
the preceding lesson, (but without violence,) and look 
about three quarters of the distance across the room. 

Adapt attitude and gesture to the same distance. 

Unite with the tones of earnestness, the distinctness 
and articulation of the two first lessons. 

Keep the feelings vivid. 

Be careful never to relax in deliberate energy and 
force, so that the voice may have a striking expression 
in all parts of the room. 

The speaking will thus become manly and effective. The 
speaker will be forcible, earnest, sincere. 

Lesson V. 

EXTEMPORANEOUSNESS. 

Remark. — The most striking things in delivery will often oc- 
cur suddenly to the mind of the speaker, during the excitement 
of speaking. A speaker who cultivates a natural instead of a 
theatrical eloquence, will not be able always to speak the same 
discourse in precisely the same manner. He must have the 
habit of encouraging good impulses, and should generally act 
out new and sudden ones, without distrust or hesitation. 

Directions. — Speak wholly from the impulse of 
thought and feeling. 

Aim to appear as if extemporizing. 

Take no particular pains as to any one point that has 
been studied in the previous lessons. 

Imagine the whole audience present. Act upon them, 
and endeavor to interest them in the thoughts and feel- 
ings of the composition. 

If the composition be well committed to memory, and the 
above lessons faithfully practised, there is no danger that the 






SOPHOMORE YEAR, SECOND TERM. 411 

speaker will manifest embarrassment. Experience shows that 
natural diffidence is no serious impediment to eloquence in pub- 
lic speaking. It generally springs from sensibility, and this 
characteristic is favorable. 



SOPHOMORE YEAR, SECOND TERM. 

Subject of Study. Interesting Speaking. The 
eloquence of full enthusiasm. 

Remarks. — The preceding course of lessons cultivated the 
eloquence of thought and manly energy. 

It is the object of the present course to superadd enthusiasm. 

Lesson I. 

MUSICAL VOICE. 

Remarks. — In general, when an audience is to be interested, 
it must first be aroused and excited. Therefore, to be interest- 
ing, we must first be spirited. But in order to be spirited, we 
must begin our practice with being forcible. 

If we attempt to cultivate a musical voice for a large room, 
without first acquiring a manly force, we shall become feeble 
and effeminate. 

Directions. — 1. Stand erect, with the chest thrown 
well forwards. Let the lower limbs, however, be easy, 
to avoid a swelling attitude. 

The position of the body will thus express enthusiasm. 

2. Open the hand wide, and extend the arm to its full 
length — stiffening the muscles. 

The action of the arm will thus correspond to the 
condition of the breast. lis motions will be slow and 
earnest. 



412 LESSONS FOR EXTRACTS. 

3. In this lesson, use the upper key of the voice, but 
with a deep tone. 

Address the most distant part of a very large audience. 

Make the voice reach them without explosive effort, 
but rather by an earnest prolongation of tone. 

Lesson II. 

DEEP TONED VOICE. 

Remarks. — The previous lesson will not complete the acqui- 
sition of the necessary tone of voice. Enthusiasm, which is 
the source of what people call an interesting manner in delivery, 
springs from meditation. 

Directions. — Practise in the same way as in the pre- 
ceding lesson, but in the meditative mood of delivery. 
Yide part 3, chap. 1. 

Use as much depth of tone as in earnest and passion- 
ate soliloquies. 

Let the speaker withdraw wholly into his own mind, 
but give his feelings bold utterance. 

It will still be necessary to address, in imagination, a very 
large audience. Unless this be done, the expression of enthu- 
siasm will be so feeble and obscure, as to excite commiseration, 
rather than sympathy. 

Lesson III. 

INCULCATION. 

Remarks. — The voice must now acquire the tone of forcible 
and pointed address. 

Without this lesson, the voice will sound too abstracted. 

Power must also be employed, to command respect. 

Directions. — Repeat the first lesson, but address an 
imaginary audience in the room. 



SOPHOMORE YEAR, SECOND TERM. 413 

Do this with a deliberately pointed address. 

Thus the voice, having previously acquired a strongly 
interesting tone, will make the audience think as well as 
feel. 

Lesson IV. 

APPEAL. 

Remarks. — The last lesson will have produced a style of 
speaking of great, yet not the highest power. 

A powerful appeal has more effect than the strongest incul- 
cation. 

Directions. — Proceed in the meditative mood as in 
the second lesson, but look earnestly at an audience in 
the room. 

Make the most powerful appeal to their sympathies, 
with voice and gesture. 

Lesson V. 

APPROPRIATE STYLE FOR THE COMPOSITION. 

Remarks. — Each of the previous lessons will have exhibited 
a natural and interesting delivery, but the object of the present, 
is to cultivate the precise medium between different qualities 
which best fits the composition spoken. 

Directions. — Imagine the class audience present, and 
surrender the mind unreservedly to the impulses of the 
thoughts and language to be uttered. 

Address the class, not as acquaintances, but as repre- 
sentatives of our common human nature. 

Be fearless in appeal to the universal sympathies of 
mankind. 

Observation. — Speakers are apt to fear that exhibitions of 
enthusiasm may be unsafe. This will never be the case, when 



414 LESSONS FOR EXTRACTS. 

feeling is united to thought, and petty differences of character 
among mankind are disregarded. Confident appeals to univer- 
sal sympathy, must necessarily meet with a response. 



SOPHOMORE YEAR, THIRD TERM. 

Subject of Study. Commanding Speaking. The 
eloquence of cultivated power. 

Remarks. — The great object of the present course of lessons, 
is to cultivate a developementof all the resources for interesting 
an audience, which are furnished by the composition to be 
spoken. 

Lesson I. 
EXPANSION of thought. 
Remarks. — Speakers of cultivated power, find more meaning 
in the words of an eloquent composition, than inferior speakers 
discover. 

The speeches of the highest class of orators are the most brief 
in language, yet the most full of thought. It is the especial ob- 
ject of delivery to express this fullness of meaning. 

Directions.— Large audiences expand a speaker's mind. 
Therefore address, in imagination, a very large audience. 

Cultivate great freedom and flexibility of attitude. 

Let the changes of position be bold and decided. 

Use great expansion and variety of gesture. 

Employ a slow articulation, long pauses and striking 
transitions of voice. Make use of striking and deliberate 
emphasis, as the most powerful of instruments for pro- 
ducing the effects that you wish. 

Strive, with intense effort of mind, to make the audi- 
ence think at every word. 



SOPHOMORE YEAR, THIRD TERM. 415 

Lesson II. 

EXPANSION OF FEELING. 

Remarks. — In the previous lesson, the effort has been to dis- 
play thought. The audience also were aroused, and made to 
think with the speaker. To thought must now be added feel- 
ing. This lesson likewise, must be practised as before a very 
large audience. 

Directions. — Speak as before, but in the meditative 
mood, and with strong emotion. Vide p. 337. 

Make especial use of all the resources that can influ- 
ence the imaginations of the audience. 

Whenever the imagination can be appealed to, make 
use of gestures that are boldly poetical. 

Keep the mind intensely watchful, that no opportuni- 
ty escape, in which the audience can be made to feel. 

Lesson III. 

SYMPATHY. 

Remarks. — The very best speaking does not attempt to com- 
pel men, as it were, by mere force. There should always be 
more or less of the persuasive. Persuasion appeals to sympathy. 

Directions. — Address an audience in the room, but 
with the same enlarged exhibition of thought and feel- 
ing. 

Look earnestly at the audience, and endeavor to enlist 
their sympathies. 

Let the voice be deliberately flexible, and a marked 
use be made of pauses and transitions. 



416 LESSONS FOR EXTRACTJS. 

Lesson IV. 

DETERMINATION. 

Remarks. — A speaker who has an important point to gain, 
does not rest satisfied with a mere effort to persuade. To make 
sure of his object, he adds a power, that proceeds from deter- 
mination. 

Directions. — Address an audience in the room. Ap- 
peal powerfully to sympathy, but superadd that force 
which comes from a determination to carry a point. 

When the compositions of others are spoken, and in 
general, when a formal written address is delivered, the 
point to be carried, is to make the audience attend, and 
take an interest in the ideas that are offered. 

Lesson V. 

CONFIDENCE. 

Remarks. — Speaking may be skillful, interesting and forcible, 
and yet fail of its intended effect. In such cases, the speaker 
does not place full confidence in his audience. 

Directions. — Superadd to persuasion and determined 
force, a bold confidence in the audience. 

Disregard their accidental characters and circumstan- 
ces, and appeal confidently to such feelings as are the 
same in all men. 






JUNIOR YEAR, FIRST TERM. 417 

JUNIOR YEAR, FIRST TERM. 

Subject of Study. — Acceptable delivery before large 
audiences. Style of delivery for Fopular Oratory. 

Remarks. — There is a peculiar excitement produced in a 
speaker by the presence of a large crowd of his fellow men — a 
more expanded sympathy, and a corresponding enlargement of 
manner, in delivery. 

To succeed with large and miscellaneous assemblages, elo- 
quence must be spirit-stirring and attractive. 

A musical voice and rhythm are indispensable. 

Attitude and gesture must intentionally be made more bold 
and free, in order to attract the eye from a distance. 

The question will be asked, Does the study and practice of 
successful delivery before large audiences, improve the speak- 
er's style of delivery before smaller ones? It does ; and indeed 
it is impossible to arrive at the higher styles of eloquence by 
any other process of cultivation. Without it, a speaker's man- 
ner will exhibit a narrowness, littleness, and restraint. It is 
always easy to reduce the scale of our delivery when we wish 
to adapt it to a small audience. Vide pp. 169, 170. 

Lesson I. 

EXPANDED VOICE. 

Remarks. — The object of this lesson, is to make the most re- 
mote and inattentive auditors hear and attend, by means of the 
full tone and musical sound of the voice. 

In the lower part of the upper key of each person's voice, 
there is a peculiar, smooth, full and musical tone, which is the 
most expressive, and can be heard the farthest. 

If this agreeable and effective tone be, at first, carefully culti- 
vated on the upper part of the voice, the subsequent lessons will 

36 



418 LESSONS FOR EXTRACTS. 

develope it in the lower keys, and the student will be able finally 
to exhibit it on any key that is desirable. 

This full and musical voice is essential for very large audi- 
ences. 

It is only by using this quality of voice, that the speaker can 
proceed with ease. Any other will be disagreeable to the hear- 
ers, and tend to bring on a sore throat in the speaker. 

The key of voice for an audience, depends on the distance 
of the more remote hearers from the speaker, (vide Whately's 
Rhet., Part IV.) The larger the audience, the higher must be 
the key. Vide p. 171. 

For the same reason, the larger the audience, the slower 
(in an easy and sustained way) must be the utterance. 

The vowels must be slightly prolonged, to favor the musical 
audibility, and make the tones of expression reach to a distance. 

For the same reason, emphatic words and pauses must be 
given with great prolongation. 

Directions. — Imagine a large crowd present. 

Stand erect, and with the body rising to its full height. 

Lean forwards — not from the hips, but from the foot 
on which the body rests. 

Direct the arm in gesture, over the heads of the greater 
part of the audience, to those more remote. Let the 
hand be as high as the shoulder. 

Keep the voice sustained in the key for the distance. 

Separate the groups of words, to allow of perfect ease 
in taking breath. 

Prolong the words, and especially the emphatic ones. 

Do not strain or force the voice, but suffer it as it were, 
to flow of itself. It is indispensable that the delivery be 
easy and pleasant to the speaker himself. 

When first beginning this practice, use a considerable 
degree of loudness. 



JUNIOR YEAR, FIRST TERM. 



419 



In the case of most voices, this last direction is at first abso- 
lutely necessary for success, and this kind of discipline rapidly 
deepens and mellows the tone, till the voice becomes audible 
(as in a fine toned musical instrument) without loudness. 

Lesson II. 

SPIRITED ENUNCIATION. 

Remarks. — The previous lesson if practised without this, will 
in time, produce a sort of drawl, such as we often hear from 
those who speak in the open air. Vide p. 172. 

Articulation, likewise, must be superadded to distinctness. 
The object should be, not only to attract distant or inattentive 
auditors by the sound of the voice, but to cause them to follow 
the speaker, syllable by syllable. 

The hearers should be able to distinguish the words and syl- 
lables as clearly, as if they saw them printed in large characters 
and held up before them. 

Directions. — Exhibit the qualities of the last lesson, 
but practise, in addition, a very forcible accent, and an 
energetic articulation of every letter. 

Endeavor to compel attention, not merely to the gen- 
eral sense, but to every word that you utter. 

Lesson III. 

HARMONIOUS FLOW. 

Remarks. — As the first lesson, if exclusively practised, may 
in the end produce drawling and formality, so the second may 
lead to stiffness and a dry and labored style. 

A spontaneous and captivating flow of thought and feeling 
must be cultivated. 

This, philosophically stated, is musical rhythm, (the highest 
degree of which is exhibited in the recitation of lyrical poetry,) 



420 LESSONS FOR EXTRACTS. 

but it is difficult in elocution to cultivate rhythm on musical 
principles. The following mode of practice will be certain to 
secure a flowing rhythm. The mode of practice corresponds 
with the true cause of rhythm, both in music and poetry. 

Directions. — Use the full and musical voice. Proceed 
with a free and unhesitating fluency. 

Avoid all self-criticism, and abandon yourself to the 
pleasurable flow of impulse. 

As you proceed, give yourself up wholly to the pleas- 
urable excitement of hearty and flowing expression. 

Observation. — A very common fault among public speakers, 
is a habit of intellectual hesitation. This is frequently supposed 
to proceed from defect of memory, or deficiency of ideas. It is 
in fact, generally, a mere habit of mind in delivery, and may 
readily be broken up by such exercises as those of this lesson. 

Lesson IV. 

BOLD EMOTION. 

Remarks. — A manifestation of emotion sufficiently striking 
for a small audience, will appear uninteresting and tame before 
a large one. 

Large audiences require that exhibitions of imagination and 
feeling be, as it were, on a large scale. 

Directions. — Neglect the audience to some extent, 
and yield yourself up to your own thoughts and feelings. 

Be perfectly fearless and indifferent as to any possible 
faults, and abandon yourself to unrestrained enthusiasm. 

Especially let this be the case on the most important 
words and passages. 

The enthusiasm should be more meditative and so- 
liloquizing, or more earnestly addressed to the audience, 
according to the character of the composition delivered. 



JUNIOR YEAR, SECOND TERM. 421 

Lesson V. 

ABANDONMENT. 

Remarks. — Among men of education, the chief impediment 
to eloquence, is the habit of self-criticism and distrust of them- 
selves, at the time of speaking. 

These habits of checking impulses, may prevent some faults, 
but generally destroy all positive excellence. 

Take as a golden rule, never to watch and criticise the 

DETAILS OF YOUR ELOCUTION, WHEN ACTUALLY ADDRESSING AN 
AUDIENCE. 

Directions.— Indulge in the most unrestrained emotion. 

Appeal triumphantly to the sympathies of the audi- 
ence. 

The more boldly this is done, the greater will be the 
pleasure you will inspire. 

Observation. — Never distrust your audience. Address them 
as human beings, who cannot but share the common sympathies 
of our nature. 



JUNIOR YEAR, SECOND TERM. 

Subject of Study. — Elevated Delivery. The elo- 
quence of glowing thought. Delivery which elevates 
the minds of the auditors. 

Remarks. — It is the especial object of the present course of 
five lessons, to prepare students for speaking their own compo- 
sitions. 

From an imperfect knowledge of delivery, many are not 
aware, that any serious essay may be spoken in an elevated 

36* 



422 LESSONS FOR EXTRACTS. 

manner, if the time and place are suitable. They suppose 
such a style of speaking necessarily requires, if not a declama- 
tory, at least an oratorical, or a rhetorical style of composition. 
This is a very injurious mistake. 

Upon the present course of lessons, is placed the sole reliance 
for the actual merit of the speaking at the Junior Exhibition. 
The latter is not, indeed, required to be, without exception, in 
an elevated style; but it is nevertheless expected, that each 
composition will be spoken in a spirited and interesting man- 
ner. If this be done, the speaking will be either elevated or 
familiar. But familiar speaking, if before a large and miscel- 
laneous audience, is far more difficult of execution than that 
which is elevated. It requires more self-possession and expe- 
rience, a voice of more real strength, and an uncommon maste- 
ry of rapid articulation, as well as of the power of accommo- 
dating the voice to rooms. To arrive at it, an elevated style 
must first be attained. It is in fact the last accomplishment 
acquired by speakers, being mastered only after considerable 
practice — at least in imagination — in speaking to large audi- 
ences. 

To be successful before large audiences, it is absolutely ne- 
cessary, therefore, to be master of a high and bold style of de- 
livery. Upon the same resource, also, must be placed the sole 
dependence for giving interest to such chaste yet plain essays, 
as, although sensible and judicious, would, when simply read 
in a large room, sound tame and uninteresting. 

It is recommended to the students to endeavor, if possible, to 
exemplify the ability in speaking required in the following les- 
sons, upon such composition as is not unlike what they them- 
selves would write ; to give interest to plain language and valu- 
able thoughts, by means of elevation and skill of delivery; and 
not to be dependent for animation and enthusiasm, on uncom- 
mon qualities of style. 



JUNIOR YEAR, SECOND TERM. 423 

Lesson I. 

POWER. 

Remarks. — It is the object of the present lesson, to give 
such discipline as to prevent all languor or drawling of the 
voice, and all awkwardness of gesture. We use the term pow- 
er, because it describes the nature of the speaker's efforts. If 
successfully exhibited, it produces what audiences call by a low- 
er term, viz. spirit or animation. Those who have not learned 
by experience, are singularly ignorant, how vivid and concen- 
trated an effort of mind and body is required, to give to a large 
audience the impression of spirit and animation. 

Directions. — Address an extremely large audience. 

Give accent and articulation with an intentional and 
commanding force. 

To make this easy and natural, as well as sufficiently 
powerful, utter the words with an inward feeling of 
power. 

Determine to command the attention of the audience. 

Observation. — It is a speaker's own fault if his audience are 
inattentive. In general it is in the best taste, not to make 
much display of this confidence in one's own skill, when actu- 
ally addressing an audience. Still if some slight manifestation 
of it does appear, the effect is not disagreeable. It is pleasant 
to witness manifestations of power, in this, as in other acts. 

Lesson II. 

SPLENDOR. 

Remarks. — It may seem a bold direction, to advise a modest 
young man to cultivate splendor of delivery. If he succeeds, 
however, in acquiring it, audiences will apply a much lower 
epithet. The strongest expression will be such as striking. 



424 LESSONS FOR EXTRACTS. 

In fact we use the term in reference, not so much to what the 
speaker will actually exhibit, as to what he should aim at. An 
animated speaker's thoughts and feelings, seem far more vivid 
and glowing to himself than to others. This lesson — being 
private — should be carried to a great extreme. 

Directions. — Let the eyes of the imaginary audience 
be gratified by attitudes and gestures of the boldest kind. 

Cultivate bold poetical gestures, which appeal to the 
imagination. 

Arouse activity of imagination in yourself and others, 
and keep every image vivid and strong. 

Lesson III. 

SENTIMENT. 

Remarks. — A better term than sentiment would be pathos, 
in the sense in which it was used by the Greeks. In a vivid 
state of the intellect and imagination, every idea and image 
has some feeling connected with it. It is chiefly the expres- 
sion of these, that constitutes eloquence. Remember that this 
lesson, being practised in private, should be executed in an ex- 
treme manner. 

Directions. — Enlarge and magnify the exhibition of 
feeling. 

Practise such power in this respect, that when before 
an audience, you shall not need to make much exertion, 
and indeed shall be spirited and interesting, while, at 
the same time, you appear simply calm and graceful. 

Lesson IV. 

TRIUMPHANT APPEAL. 

Remarks. — It is an essential requisite of satisfactory delive- 
ry, that it be executed with a reasonable degree of ease. If 






JUNIOR YEAR, SECOND TERM. 425 

the audience notice that a speaker is under the necessity of ma- 
king excessive exertion, they will feel either disgust or commis- 
eration. Practice and experience enable one to make the vig- 
orous efforts which are really necessary, in a graceful and agree- 
able manner. The delivery will indeed seem to the audience to 
flow, almost without effort, and from the spontaneous and pleasu- 
rable impulses of the speaker. And this is the principal cause 
of the high enjoyment experienced in hearing really good speak- 
ing. It will therefore be best to continue the same powerful 
exertion as in the previous lessons. By doing this, we shall so 
strengthen the faculties required in delivery, that the final les- 
son can successfully be practised in an easy, calm and genial 
mood of mind. 

Directions. — Address in imagination an audience in 
the room, and apply directly to them all the resources 
of eloquence that have been practised in the previous 
lessons. 

l«et not your manner be that of one asking for the 
admiration of the audience. Rather appeal trium- 
phantly — first, to the common sympathies of men, and 
secondly, to their social and friendly feelings. 

Lesson V. 

CALM TOWER. 

Remarks. — The previous lessons having been practised as 
gymnastic exercises of the mind, a strength and skill will have 
been acquired, which will relieve the speaker from the necessi- 
ty of making more exertion, than just that degree which is 
most genial for himself, and agreeable to the audience. 

Directions. — Yield yourself up to pleasurable impul- 
ses of intellect, imagination and feeling. 
In general, be calm and graceful. 



426 LESSONS FOR EXTRACTS. 

If an idea, however, requires even a vehement and 
overpowering force, do not spoil its utterance by an un- 
natural reserve. 

Observation. — Modesty is of course essential to a gentle- 
man ; yet it does not call for a studious effort to conceal a well 
founded consciousness of power. Honesty, frankness and open- 
ness of disposition, are as essential as modesty. 



JUNIOR YEAR, THIRD TERM. 

Subject of Study. — Matured Delivery. Such speak- 
ing as is required for Oratory. Skill and power for 

Mass Meetings. 

Remarks. — It not being the custom of this institution, to 
make Speaking a regular exercise of the Senior Class, it must 
be during the Junior year that students are to become qualified 
for appearing at Commencement. It is therefore a principal 
object of the following course, to assist in bestowing this quali- 
fication upon all the members of the class alike. The instruc- 
tors make no attempt to render the delivery of those who actu- 
ally appear on that occasion, any thing more than a fair exhibi- 
tion of the average knowledge of this branch possessed by the 
graduating class. Yet for a young man who has had no expe- 
rience before audiences except what can be acquired in Col- 
lege, to speak with acceptableness in a very large church 
crowded to its utmost capacity, is a difficult undertaking. 

The highest stvles of secular oratory, exhibited in this coun- 
try at the present day, like the triumphs of ancient eloquence, 
are brought out by the influence of mass meetings. These not 
only elevate and expand a speaker's mind, but stimulate it to 
its utmost efforts. Littleness and narrowness of manner dis- 






JUNIOR YEAR, THIRD TERM. 427 

appear, and what artists call breadth of style takes their place. 
Sharpness, nasality and obscurity of tone, are no longer heard, 
while awkward constraint in attitude and gesture gives place to 
freedom and heartiness. (Vide pp. 161 and 1G9.) Even that 
most difficult, and, in our judgment, most valuable of all modes 
of address, a graceful, spirited, and yet commanding familiari- 
ty, is most rapidly acquired through the bold freedom necessary 
for mass meetings. The cultivation of familiar speaking being 
obviously most appropriate for the Senior year, the following 
lessons form, therefore, an appropriate introduction to it, in ad- 
dition to being necessary as the conclusion of the Junior series 
of practisings. 

Lesson I. 

FULLEST EXPANSION. 

Remarks. — The most natural and pleasant mode of practis- 
ing that slowness, distinctness, and sustained energy or grace 
of manner, and (to use familiar language) that whole-souled 
expression, which we are now proceeding to cultivate, will be 
to imagine ourselves speaking to several thousands of people 
assembled in the open air. 

Directions. — Without violence or vociferation, pro- 
ceed in the style of effective address to a mass meeting. 

Imagine such an assembly before you, and nature 
will suggest the means of success. 

Endeavor to adapt your delivery to an extreme dis- 
tance, in respect of key, slowness, accent, emphasis, ar- 
ticulation, a sustained and harmonious rhythm, and wide 
ranging gestures and changes of position. 

Cultivate this adaptation with energy, and also with 
patience. 



428 LESSONS FOR EXTRACTS. 

Lesson II. 

REFINEMENT. 

Remarks. — It is apt to be supposed that successful speaking 
in the open air, must necessarily exhibit considerable coarse- 
ness and rudeness. This is a mistaken notion. A musical 
voice is heard the farthest, and is most favorable for articula- 
tion. The gestures need not be violent or extravagant. They 
simply require to be wide and free. 

Directions. — Repeat the same practice, but in the 

MEDITATIVE MOOD. 

By so doing, rude energy will be changed into bold 
and commanding enthusiasm. 

No disagreeable degree of loudness will be necessary. 

Lesson III. 

ENLARGED SCALE. 

Remarks. — When speaking in the circumstances we are 
now supposing, it will not be sufficient to trust, as on ordinary 
occasions, merely to natural impulses. The speaker must take 
pains to set forth a striking exhibition of what ought to attract 
the attention of the audience. He must intentionally enlarge 
the scale of the picture, with reference to its being viewed from 
a distance. Otherwise what he does will appear tame and un- 
interesting. 

Directions. — Take pains to attract attention from a 
distance. 

Give an intentional increase of force and boldness to 
the emphasis. 

Study the boldly poetical and passionate in attitude 
and gesture. 






JUNIOR YEAR, THIRD TERM. 429 

r In this lesson, practise yourself in making a display 
of such things. 

Lesson IV. 

EMPLOYMENT OF STRIKING PASSAGES. 

Remarks. — It is one of the last and highest attainments in 
delivery, to be able to make an intentional employment of the 
most striking passages in a discourse. We are here, indeed, 
getting upon dangerous ground ; yet finished oratory habitually 
places great dependence upon favorite passages. The student 
of delivery must not shrink from this study, notwithstanding 
the examples which are so often witnessed of mere ostentation 
and clap-trap. 

Directions. — Distinguish definitely in your mind, cer- 
tain passages as best adapted for useful effect. 

Make especial efforts upon them. Enter upon them 
with some deliberation. Pause somewhat after them. 

Do not spoil their exhibition, by shrinking from an 
unreserved freedom and boldness. 

Lesson V. 

TEMPERANCE. 

Remarks. — The directions of Shakespeare are universally 
known, yet it will be well to quote them : " In the very torrent, 
tempest, and as I may say, whirlwind of your passion, you 
must acquire and beget a temperance that may give it smooth- 
ness." But with reference to the opposite extreme also, it will 
be not inappropriate to introduce a criticism of the celebrated 
Dr. Beecher, after hearing, by request, an exhibition of a rhe- 
torical society. "Gentlemen, a river must indeed have banks, 
but still there must be a river" In this lesson the style for a 
mass meeting must be given in its full extent. 

37 



430 



LESSONS FOR EXTRACTS. 



Directions. — Exhibit a bold and striking delivery, but 
moderate it sufficiently for the time, place and occasion, 
on which you are about to speak. 

But let this be done without unnatural reserve and 
self-restraint. 

Neither suffer yourself to become tame. Give nature 
a free scope. 

Be perfectly collected, and sufficiently calm. 

If you have to fear ungenerous criticism, and it is re- 
ally necessary to protect yourself against it, proceed, in 
a considerable degree, in the Meditative Mood. This 
will afford an infallible protection. 

Observation. — As the most serious hindrance to eloquence 
is the fear of unsympathizing and illiberal criticism, let the 
speaker himself cultivate a "large tolerance" in his criticisms 
upon others. He will find such habits of great assistance to 
his own confidence when speaking. 






431 



PREPARATION FOR JUNIOR EXIIIBI 
TIONS AND COMMENCEMENTS. 



In the first place, the fact must be borne in mind, that few 
cases occur, in which a young man does not exhibit a much 
more natural and interesting delivery, when speaking an ex- 
tract from some elegant writer, than when delivering his own 
composition. This assertion is indeed contrary to prevalent 
opinion, but the experience of instructors establishes its truth. 
To say nothing of a not unreasonable degree of diffidence, the 
genuine modesty which almost always characterizes a really 
good scholar, causes him to do less justice to the mej 
own composition than they deserve. Especially^ 
in good taste and free from exaggeration or prj 
writer apt to fail in giving an earnestness or elf 
ery correspondent to the actual importance oi 
finest thoughts. It must be remembered that el< 
livery does not depend primarily upon a rhetorical 
style. Though the contrary opinion is often entertained, it is 
yet a mistaken notion, and one of exceedingly injurious conse- 
quences. On the contrary, the very highest degree of eloquence 
in delivery, absolutely requires that the language uttered be 
plain and simple. It will be sufficient to refer to the Bible, to 
Shakespeare, and to Demosthenes, Chatham, Grattan and Pat- 
rick Henry. The practical direction, therefore, must be for the 
student to render full justice to the actual ideas which he has 
written, although the language in which they are expressed, 
may not of itself excite his enthusiasm. More particularly let 
this be done in all cases in which the imagination is appealed 




432 



ORIGINAL COMPOSITIONS. 



to. There will be no danger of rant or bombast, provided that 
ideas are spoken, and not mere words. Rant and bombast are 
the expression, not only of want of thought, but also of want of 
real imagination. 

Another suggestion is often found to be of great service. 
Writers are apt to feel that it will not be safe or proper, to ex- 
press with force or enthusiasm, ideas which are not absolutely 
new. Here again is a mistake. The true question is not 
whether an idea is new, but whether it is important and inter- 
esting. Sometimes indeed the interest is partly or wholly 
that of novelty, but ideas of the deepest interest, appeal to uni- 
versal human nature, and ought not to be wholly new. It is a 
great error to attempt to depend solely on novelty for interest. 
Indeed, at best, the interest of mere novelty is apt to be of an 
inferior kind. In short, the writer and speaker must take for 
granted, that what deeply interests him, will certainly interest 
hisjy^^rice, provided he gives an adequate expression to his 

ice, a single consideration should be sufficient. 

is of modest young men who are considered as 
scholarship, are ahvays interesting to cultiva- 

Let another fact, however, be borne in mind; 
dTTrlMBWUver manifests itself outwardly in any disagreeable 
degree, when a speaker is once master of a natural and extem- 
poraneous style of delivery. But if still further suggestions be 
needed, let it be remembered that diffidence is no natural ob- 
stacle to enthusiasm ; than which nothing is either more inter- 
esting or more safe. Simply let care be taken that diffidence 
do not proceed from egotism, and the speaker may be relieved 
from all embarrassment by yielding himself up unreservedly to 
the inspiration of his subject. A certain abstractedness, both 
from self, and from the accidental circumstances of the time 
and place, must exist in all good delivery. Vide the remarks 
under the head of the " Meditative Mood," p. 340, 




ORIGINAL COMPOSITIONS. 433 

To prepare a composition of greater length than a mere ex- 
tract, for speaking in a manner to do it full justice, is somewhat 
of a task. If the writer say he cannot do this without audien- 
ces upon whose patience to practice, he proves himself destitute 
of a useful knowledge of delivery. Experience demonstrates 
that those who take this ground, will be certain not to succeed. 
A student who had a poem to recite at an approaching com- 
mencement, carried it to the most celebrated of American act- 
ors, requesting to be instructed how to deliver it. The actor 
glanced at the poem, and replied : " Tt would cost me three 
weeks of study to prepare for delivering this myself, and I can- 
not undertake to qualify you." 

The labor of writing, correcting and rewriting, causes ideas 
to lose their freshness. The necessary hesitation respecting the 
choice of words and arrangement of style, during the process of 
composition, perplexes the memory of the speaker, and distracts 
his mind from that main course of thought, upon which a suc- 
cessful delivery principally depends. Without care^j^J^h 
reference to speaking, even the best composition 
to appear immethodical, confused and dull. By stl 
will be restored to that fresh interest with which w 
gested themselves to the mind ; the several parts of^l^^rJ>o- 
sition will be connected in the mind in their proper order and 
mutual bearing, and their proportionate importance will be as- 
sociated with them in the memory. It sometimes happens in- 
deed, that after thoroughly preparing a composition for delivery, 
by several repetitions of preparatory speaking, the student com- 
plains that he experiences a loss of interest in the ideas, and 
finds it difficult to speak them with animation. But if the de- 
livery has been well studied, this is an indication not unfavor- 
able. In such cases the student has often subsequently inform- 
ed the writer, that the actual presence of the audience, at once 
relieved every such difficulty, and caused the whole series of 
thoughts to pass through his mind as if lie were speaking ex- 

37* 




434 ORIGINAL COMPOSITIONS. 

temporaneously, and were then for the first time conceiving 
them. To be in this state of mind before an audience, is said 
by those who have made a thorough preparation, to be extremely 
inspiriting and agreeable. 

The following are the rules adopted in this institution, in re- 
gard to preparing for Exhibitions and Commencements. 

1. The compositions must be finished and committed 
to memory, before the beginning of the week which 
precedes that in which the Exhibition or Commence- 
ment occurs. 

2. They are to be fully prepared for public delivery, 
before the week in which the Exhibition or Commence- 
ment takes place. 

A great benefit results from making an early preparation, 
and then suffering the mind to remain for three or four days, 
in a state free from anxiety or the necessity of labor. In this 
jaker appears before the public with a fresh and 
test, and his delivery becomes more natural and 




"student is to prepare his own delivery, at least 
up to the point of being able clearly to exhibit the ideas 
and the methodical course of thought which character- 
ize his composition. 

He is to pay particular attention to the pauses and 
transitions, at the paragraphs into which it is divided. 

4. The plan has been tried and found to be of great 
benefit, to require each performer to associate with him, 
in practice before the instructors, one of his companions, 
as a friend and critic, to assist, by communicating his 
impressions, the advice of the instructors, and the taste 
and judgment of the performer himself. 



ORIGINAL COMPOSITIONS. 435 

Such is now the established rule. The performer feels a 
more just confidence, when his delivery gratifies one of his fel- 
lows, than when he is assisted by no sympathy but that of those 
who are far removed from him in age. 

5. It is absolutely necessary, that a young man who 
is to address a crowded audience in a large room, for the 
first, or at most for but the second time in his life, have 
several opportunities %f practising the accommodation of 
his voice, attitude and gesture, to the room in which he 
is actually to appear. 

For the information of the friends and patrons of this institu- 
tion, it will be not unimportant to mention, in this place, that 
skill in public speaking is considered an accomplishment of no 
value, except for those whose education qualifies them for use- 
fulness. No one is appointed to appear before the public merely 
because he is a speaker. 




436 



APPENDIX. 



The size which this volume has reached, owing to the neces- 
sity of inserting a sufficient number of examples for practice, 
compels us to omit nearly the whole of an appendix, in which 
we had discussed the following topics. 1. The general subject 
of good taste in respect to the kinds of delivery most appropri- 
ate on different occasions : 2. The management of the mind, 
when carrying on in conjunction the two processes of composi- 
tion and of speaking — i. e. its management in Extemporaneous 
Speaking: 3. Reading, in its two kinds of Public and Parlor 
reading: 4. The delivery of Poetry : 5. Continued Self-Culti- 
vation in Elocution : 6. The Elocution of Conversation : 7. 
The n^MM^e of public speaking on Health. 

JB<;!:o'TtHttempting to discuss any of these important sub- 
j'-^B in inlHk'e will briefly mention a few considerations suffi- 
cienWo^Bmplete the present work as a practical treatise on 
Public Delivery. Such ideas will be selected as an instructor 
is most often called on to suggest in answer to enquiries ; yet 
they will be merely indicated, as space is wanting for their full 
development. 

1. Good Taste. — All public delivery may be divided into two 
kinds ; the Elevated and the Familiar. 

Elevated Delivery ought always to be characterized 
by Gravity, Dignity, Suavity, and Sympathy. 

Familiar Delivery should especially exhibit Liveliness, 
Fluency, Grace, and as much Rapidity, as is consistent 
with intelligibility. Vide last par. p. 344. 

In both kinds, Grace and Self-Possession ought to manifest 
themselves as established personal habits of the speaker. As 



APPENDIX. 437 

much variety also ought always to be employed, as the course 
of thought will permit. 

Finally, so far as delivery merely is concerned, Brevity 
is one of the most important of all qualities. 

Very few speakers seem to be aware of this unquestionable 
fact. Elocution, like music, has but a limited number of legit- 
imate resources for variety. Of the two arts, music bestows the 
deepest and most universal pleasure. Yet musicians appreciate 
the great importance of brevity in single performances, and 
not only shorten them as much as possible, but call in every prac- 
ticable resource for variety. Even the most favorite performers, 
avoid, if possible, taking on themselves alone the task of grati- 
fying an assembly throughout an entire concert. Actors pursue 
the same'policy ; they always shorten long speeches in a play. 

2. Extemporaneous Speaking. — In the case of a mind well 
disciplined by education, the hindrances to this accomplishment, 
are almost solely the embarrassment and confusion of mind 
which attend the want of established habits of good delivery. 
Vide the remarks which precede the lessons for the'Wj^epi 
of the Sophomore year, p. 404. f!S .*.- 

Delivery may be compared to the mechanical and habitual 
parts of the act of writing a composition. If one has an easy 
current hand, and confirmed habits of accuracy in spelling, 
grammar and the simplest principles of style, the labor of original 
composition is so simplified that the mind is free to think and ar- 
range its thoughts with facility. In extemporaneous speaking, 
a perfect fluency, readiness, and habits of clearness and force, 
in delivery, in conjunction also with the composure and self- 
possession which become habitual, not only leave the mind 
equally free to think, but even assist it in so doing.* 

* The mental process by which an extemporaneous speaker keeps 
the construction of sentences and paragraphs clear and regular, is a cu- 
rious and useful subject of study. We can but simply mention, that it 
is similar in many respects to that of reading at sight. Vide p. 206. 



438 



APPENDIX. 



3. Reading. — Parlor reading, as an accomplishment, resem- 
bles that of extempore music on a piano — requiring not only 
great skill, but a peculiar natural genius in the reader. But as 
an accomplishment, it is not often called for in society — music 
affording so much more pleasure. 

Public reading is readily mastered after one has be- 
come an accomplished speaker. 

It differs from speaking in requiring less clearness and 
brilliancy of voice, shorter pauses, and less force of em- 
phasis. 

Suppose an accomplished speaker to have a manuscript pre- 
pared, from which it is optional with him either to read or 
speak. If he prefers the former, let him consider how he 
would speak the composition, and use the same emphases, in- 
flexions and pauses, but less forcibly. The actual degree of 
approach to the bold and striking exhibitions made in speaking, 
will depend on the circumstances of the time, place and occa- 
sion, an^on the speaker's own choice and taste. Public read- 
ing jj^^Eyproach indefinitely near to speaking, and it is a prac- 
tise adopfcsd by many, occasionally to speak a portion of a dis- 
course, although the prevailing delivery is that of reading. 

To be effective, reading should always have in a considera- 
ble degree the tone of addressing an audience; yet the address 
is not so direct and earnest. Reading is principally, and in- 
deed almost exclusively, in the Meditative Mood of delivery. 

Some may imagine that in addressing public audiences, 
speaking must of course be more effective than reading. This 
is not true. For lectures, whether of instruction or amusement, 
and for many other purposes, reading is not only more agreea- 
ble, but more useful. It puts the hearers into a more reflective 
and thoughtful, as well as into a more complacent and gratified 
state of mind. 

Public reading should be accompanied by graceful attitudes 
and gestures. These however will be fewer in number, and 



APPENDIX 



439 



like the tones of the voice will not be as forcible, or make so 
strong an appeal, as in speaking. 

Under this head should be ranked the kind of reading neces- 
sary in schools and families for purposes of instruction : 

The principal requisites of which are distinctness, 
slowness, and a strong and vivid emphasis. 

4. Poetry. — It is obvious that to attempt to exhibit such 
Practical Speaking as will be useful in the business of society, 
by adopting the schoolboy practice of declaiming poetry, is ab- 
surd. Poetry must be read or recited. Recitation is a pecu- 
liar branch of elocution, and as distinct as that of Acting. 

The public reading of poetry is often necessary. No pecu- 
liar directions, however, are required, except that in giving the 
pauses, inflexions and emphases necessary for exhibiting the 
sense, care must be exercised that full justice be done to the 
meter. For this, let the reader depend on his ear, and care- 
fully observe the caesural pauses. It is the worst possible style 
of reading, which makes poetry sound like prose. 

Poetry, however, presents peculiar difficulties, compared with 
prose, inasmuch as a larger proportion of the words are impor- 
tant in meaning, and require an especial care in articulation. 
Therefore, 

In reading poetry, take more pains than with prose, 
to exhibit the natural grouping of the words. 

The influence of the feet in versification, tends to make a 
reader join words together which are separated in the natural 
grouping, and to separate many which must be grouped togeth- 
er. Hence careless reading is more unintelligible in poetry 
than in prose. Even public recitations of poetry, with a full 
and musical voice, and with bold emphasis, are seldom, for 
this reason, satisfactorily intelligible to an audience. 

5. Self-cultivation in Elocution. — Good habits, once acquired, 
are not very liable to be lost in after life. A spirited and truly 



440 



APTENDIX. 



natural delivery, improves as its possessor grows older, even if 
he neglects its further cultivation. It receives the influence of 
a more matured mind and character. The beauty, strength 
and flexibility, however, of the voice, will degenerate, unless 
occasionally cultivated. 

Those who wish to pursue a course of self-cultivation in the 
higher qualities of delivery — such as are needed in oratory, and 
such as depend on a vivid imagination and susceptible feelings 
—must have the habit of occasionally amusing themselves with 
endeavoring to express by Speaking, Recitation or Reading, 
the full amount of thought, imagination and feeling, contained 
in choice extracts from the greatest writers. 

If Speaking be practised in private, it ought always to be ad- 
dressed in imagination to an appropriate audience. We have 
just used the expression, " amusing themselves." A certain 
degree even of sportiveness, in solitary practice, will often be 
useful, by tending not only to make the exercise agreeable, but 
to promote natural and healthful habits of mind. In this way 
may be prevented an evil described by Tacitus, in his tract on 
the causes of the decay of eloquence among the Romans; 
among which he enumerates the custom adopted by oratorical 
students, of getting up theatrical trials, and practising enthusi- 
astic declamation in defense of injured innocence, and against 
fancied tyrants and oppressors. By this process, a false and 
empty show of passion became established in place of a living 
eloquence. 

Genuine eloquence can only be cultivated by a persevering 
self-development and discipline, not only of the imagination, 
but of the whole character. This subject, however, has more 
connexion with the study of composition, than with that of de- 
livery, and belongs rather to rhetoric than to elocution. Elo- 
quence in delivery, cannot exist without eloquence in the 
thoughts delivered. All that delivery can do, is to afford an 
adequate presentation of thoughts; it cannot supply them. 






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